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Flemish school, ca. 1600

Auction Lot 35306312
Flemish school; ca. 1600.
"Male portrait".
Oil on canvas glued to board.
It presents Repainting and restorations on the pictorial surface.
Measurements: 77 x 63 cm.

Estimated Value : 6,000 - 7,000 €
End of Auction: 10 Apr 2024 13:05
Remaining time: 2024-04-10 13:05:00 GMT+01:00
Next bid: 5000

BID HISTORY

DESCRIPTION

Flemish school; ca. 1600.
"Male portrait".
Oil on canvas glued to board.
It presents Repainting and restorations on the pictorial surface.
Measurements: 77 x 63 cm.
Protagonized by the portrait of a man, this portrait transmits in its conception a message that goes beyond the pure personal elevation. Wrapped in a religiosity the protagonist adopts the gesture of blessing with his right hand, while he rests his left hand on a skull. A very common resource in the painting of the time, used to point out the transience of life and the material as opposed to the eternity of a devout soul. The artist endows the scene with a great veracity that is especially evident in the face of the protagonist who shows the signs of age in a realistic and detailed way, fleeing from idealism. A real person of great monumentality that occupies a sober but defined space thanks to the table and the still life in the background composed of two cups. The work ends with one more detail, the coat of arms of the protagonist, symbol of his lineage and social position.
In this work the author starts from the aesthetics of 12th century painting, especially in the Flemish school. During the sixteenth century, the realistic style of the Netherlands had a great influence abroad, especially in Italy, but in the seventeenth century the picture is reversed. The Italian Renaissance spread throughout Europe, and Antwerp became the center of the Flemish school, displacing Bruges and functioning as a center of penetration of Italian influences. Thus, Mannerist influences arrived in the Netherlands, superimposed on the style of the 16th century. There were many painters who continued the style of the Flemish primitives, but others were so open to Renaissance influences that they even stopped painting on panel. In fact, in this work we can appreciate this 17th century trend, since, in spite of preserving the detail and verism of the Flemish school, the author opts for monumental figures and a classical spatial conception, typical of the Italian school.

COMMENTS

It presents Repainting and restorations on the pictorial surface.

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