Flemish School, Follower of PAUL DE VOS (Antwerp, 1591/95 - 1678); 17th century. "Hunting scene". Oil on canvas. Relined.

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Old Masters

By Setdart Auction House

Jun 30, 2021

Set Reminder 2021-06-30 08:30:00 2021-06-30 08:30:00 America/New_York Bidsquare Bidsquare : Old Masters https://www.bidsquare.com/auctions/setdart-auction-house/old-masters-7134
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• Lot Description
  Flemish School, Follower of PAUL DE VOS (Antwerp, 1591/95 - 1678); 17th century. "Hunting scene". Oil on canvas. Relined. It presents a 20th century frame. Measures: 115 x 135 cm; 132 x 151 cm (frame). During the 17th century, Flanders saw a growing demand for paintings to decorate the homes of the bourgeoisie. Apart from portraits and large canvases with religious, historical or mythological themes, artists specialized, painting medium-sized works that gradually increased in format, with still lifes, animals, landscapes and genre scenes. The paintings that reproduce collectors' cabinets of the time are explicit in this respect, to the point of originating a new autonomous pictorial genre. Undoubtedly, the future of this painting would have been different without Rubens, whose art revolutionized the artistic panorama of Flanders, introducing a new fully baroque way and bringing a sense of unity and opulent sumptuousness to the ordered and encyclopedic sample that were the precious descriptions of his countrymen. Debtors of his manner or subordinate to his work, the specialists worked in a new line, adding to their compositions an accessory object, a landscape or a decorative background. Within the Flemish still life painting of the 17th century, two tendencies can be distinguished, the static, represented by Clara Peeters and Osias Beert, and the dynamic, with Frans Snyders and Paul de Vos. This work belongs to the second of these schools, characterized by following the Rubensian baroque, in a purely dynamic sense. The dynamic still lifes are characterized by compositions full of sharp diagonals, as we see here, and by the frequent presence of live animals, interacting with the objects of the still life, captured in full movement. As we see here, the compositions form zigzags that provide movement, while the objects (here, animals) accumulate reflecting opulence, without any clarity. These painters often sought to reflect the violence of the animal, which here appears with particular clarity. Specifically, within this animal painting derived from the dynamic still life, the work presented here is particularly close to the painting of Paul de Vos, a painter trained with Snyders and therefore very close to him in his early works, although throughout his career he would incorporate innovative features to his work, with several variations in hunting scenes, a genre in which he specialized. Vos was more velvety in his textures than Snyders, and was characterized by a greater development of the landscape, mainly in his hunting scenes. In addition, he used a personal chromaticism based on warm ranges, ranging from ochre to earthy, but lighter and paler than those of Snyders. Likewise, his technique is looser, blurring the contours and rich textures of Snyders in favor of a more atmospheric and diffuse overall appearance. Drama and tension are also greater in Vos's work, as he always preferred scenes of great violence, often depicting animal struggles in a bloody and ferocious manner. His are therefore images of great pathos, something especially evident in his hunting scenes, endowed with a dramatism that was also reflected in the illustrations of fables that he made, starring animals. On the other hand, he approached animal anatomy in a different way, depicting it in a less naturalistic way, with more elongated bodies and more elongated bodies.
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