School of ANTON VAN DYCK (Antwerp, 1599 - London, 1641). 17th School. "Virgin with the Child". Oil on canvas. Relinded painting.

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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
  School of ANTON VAN DYCK (Antwerp, 1599 - London, 1641). 17th School. "Virgin with the Child". Oil on canvas. Relinded painting. Precise cleaning. Presents restorations Measurements: 140 x 110 cm; 163 x 133 cm (frame). In the present work the painter, who belongs to the school of Van Dyck, offers us a scene of very long tradition in the Christian West, the Virgin Mary seated, embracing and holding Jesus Child in her lap. The artist concentrates exclusively on the two figures that, although absorbed in the daily routine of children's play, present this divine union. Virgin and Child are placed in front of the viewer, the artist manages, especially, to convey the naturalness of the gesture of the child, who leans on his mother and looks at a point outside the painting. Since the end of the Middle Ages, artists insisted on representing, in an increasingly intense way, the bond of affection that united Christ with his Mother and the close relationship between them, this was encouraged in the Renaissance and, naturally, in the Baroque period, when the exacerbation of emotions characterizes much of the artistic production. Throughout the history of art, it is common for many works to be executed by disciples, copying the original model of the master under his supervision. In this way, it was usual that when the work had already taken shape, it was intervened by the master, who would retouch the important areas or correct the mistakes of the pupils. The hands of the Virgin under the arm of Jesus, the eyes, or certain incarnations reveal a clear virtuosity. Without going any further, Van Dyck opened a personal workshop as a teenager, at the age of sixteen, together with his young friend Jan Brueghel the Younger. It should be noted that Van Dyck worked closely with Rubens, of whom he became an assistant, abandoning his independent workshop. In the workshop of Rubens, by then a painter known throughout Europe, Van Dyck made his name known in the environments of the aristocracy and the rich bourgeoisie and came into contact with classical culture and court etiquette. Anton Van Dyck was a key painter of the Flemish Baroque and one of the most important portraitists of the 17th century. He began his training with Van Balen, a Romanist painter, in 1609. In 1615-16 he worked with Jordaens, and between 1617 and 1620 with Rubens, who said that he was his best pupil. In 1620 he visited England for the first time, in the service of James I. In London he enjoyed greater freedom and left aside religious painting to devote himself fully to portraiture. Between 1621 and 1627 he completed his training with a trip to Italy, where he was impressed by Bolognese painting and the works of Titian, and here he achieved his mature, refined and elegant style, as well as establishing his own type of portrait, which became a model for Western painting. In 1629 he was again in London, this time working for King Charles I, who admired Titian's work and saw in Van Dyck his heir. Thus, he dismissed all his painters, having found in Van Dyck the court painter he had wanted for years. In 1640, on the death of Rubens, the painter returned to Antwerp to finish the works he had left unfinished. The following year he moved to Paris, and returned to London for health reasons, dying shortly thereafter at his home in the English capital. Anton Van Dyck is represented in major museums around the world: the Louvre, the Prado, the Kunsthistorisches in Vienna, the National Gallery and the British Museum in London, the Hermitage in St. Petersburg and the Metropolitan in New York.
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