Flemish school, XVII century. "Annunciation". Oil on copper.

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OLD MASTERS

By Setdart Auction House

Oct 20, 2021

Set Reminder 2021-10-20 07:30:00 2021-10-20 07:30:00 America/New_York Bidsquare Bidsquare : OLD MASTERS https://www.bidsquare.com/auctions/setdart-auction-house/old-masters-7700
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• Lot Description
  Flemish school, XVII century. "Annunciation". Oil on copper. Size: 72 x 89 cm; 85,5 x 103 cm (frame). In this work we see Mary kneeling before a lectern richly decorated with a carved mannerist dolphin, interrupted in her reading by the appearance of the archangel Gabriel, who descends to the earthly plane surrounded by clouds and accompanied by child angels. Behind him we see the Holy Spirit in the form of a dove, from whom rays of light emanate that illuminate the angel. The angel does not step onto the earthly plane, where Mary is situated; her feet rest on a pedestal of clouds, so that the two spaces - celestial and earthly - are perfectly differentiated. Mary appears in a sumptuous interior of classical architecture, opened by a semicircular arch to a magnificent landscape worked in depth, based on planes of contrasting colors, in the Flemish manner. This work is still firmly rooted in the classical language of full Mannerism in Flanders, although details can already be seen that herald the Baroque, such as the dynamism determined by the diagonals that dominate the composition or the marked theatricality of the scene, derived both from this same composition and from the theatricality of the gestures and attitudes, the dramatic lighting and the scenery, with a monumental classical architectural environment adorned with a curtain that closes the composition in the upper left corner, forming wide folds and falling with a clear volume. In fact, this type of drapery will be used to emphasize the scenographic character of all types of images, from religious to portraits, throughout the Baroque period. However, a formal stylization of mannerist character still dominates, arrived in Flanders by Italian influence, and also the chromatism and the composition of the space are clearly mannerist. First of all, the figures are sculptural but not as monumental as those of the full Flemish baroque, derived from the influence of Rubens. In fact, the characters are dwarfed by the magnificence and amplitude of the space, perhaps even too large. This effect is typically mannerist, and seeks to break the classical balance and proportion in favor of greater expressiveness, more conceptual than evident. Likewise, the postures of the two protagonists of the scene are forced, even twisted; we see the angel with his face in strict profile, something usual in the Annunciations of around 1600, but instead with his torso turned towards the spectator and his hips turning in a twist that determines the foreshortening of the left leg. Mary also turns around, with her legs in profile, her torso almost facing us and her face turned towards the angel, turning in the opposite direction. These are moving postures, eloquent at a narrative level and contrived, typical of an art that, in the 16th century, wanted to break with the excessive classicist rigor, ignoring the laws of containment, proportion, harmony and balance. Neither are the baroque positions, dynamic but always balanced, with a generally ascending sense. On the other hand, the colors are totally anti-classical, lightened by an artificial light, difficult even to define, as is the case of the salmon tone of Mary's tunic. The flesh tones are also pearly, cold, with clear Mannerist roots.
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