Pittore Caravaggesco del XVII secolo - Artista che disegna un putto a lume di candela

Beschreibung
Pittore Caravaggesco del XVII secolo - Artista che disegna un putto a lume di candela
Öl auf Tafel, Öl auf Holz, cm. 29 x 23 - Nicht signiert

17th-century Caravaggesque painter
Self-portrait in the studio (Artist drawing a putto in candlelight).
Oil on wooden panel 29 x 23 cm.
Size with frame about 45 x 39 x 5 cm.

Notes: Certificate of warranty and lawful origin. Artwork with gilt frame:

" ... Splendid antique painting, oil on panel, depicting an artist (self-portrait) who draws a putto in candlelight. The painting manifests an interesting expressive force of Caravaggesque nature. The artist, therefore, recognizes himself as a participant in that naturalism that characterizes the school of Rembrandt, where the language of Merisi evolves according to distinct currents of the Dutch school of the seventeenth century.
This image refers to the original (oil on panel, 29 x 23.5 cm) made by the Dutch artist Gerrit (or Gerard) Dou (Leiden, 1613–1675), now on display at the Royal Museum of Fine Arts in Brussels (No. 86). In the case of this painting we believe that the panel in question can be easily traced back to the artistic production of a follower or circle of the master.
Unlike the self-portrait in the study (oil on panel, 43 x 34.5 cm, Dresden Gemaldegalerie), in the painting in question there is not the same chaos in the painter's atelier, despite the fact that there is no lack of poetic license within it, that poetic license able to show off skills in the rendering of art objects, such as sculptures and other different and precious materials. In fact, Dou's studio was proverbially clean and tidy. According to scholars, the artist had a form of obsession with order that resulted in a manic psychic orientation. The painting under consideration depicts the artist (self-portrait) by candlelight, while he is drawing the statue of a naked child (Cupid or Horus) with a larger hourglass and a statue head, on the back a globe, inscribed on the base: Gerard Douw. The descriptive details are painted with impressive accuracy, especially the skills of patience and finesse in the reproduction of surfaces emerge with clarity in the exuberant still lifes that Dou frequently features in the foreground, with effects nearing a virtuosic trompe-l'oeil despite its small size. In the panel, the artist adopts – on a smaller scale – the candle as a single source of light, illuminating the scene with strong chiaroscuro (as in Rembrandt's early works, 1620). This candlelit image demonstrates, in fact, the acute ability of Dou and the School of Fijnschilders of Leiden to capture with incredible beauty a serene state of mind.
There are no particular stylistic variations throughout the painter's career, who always remains faithful to his core and early activity, in the studio of Rembrandt in Leiden.
Gerrit Dou was born in 1613 in Leiden, and is one of the best known artists of the Leiden school, famous for his paintings of interiors and portraits. His first training was given by his father, glassmaker and glass engraver, and by thr engraver Bartolomeo Dolendo. At the age of fifteen, from 1628-1631, he studied at Rembrandt's, adopting the same choice of subjects, paint and drawing techniques and the same use of lights and shadows. After Rembrandt he left Leiden in 1631 to move to Amsterdam. Dou continued to paint on wood or enamel on a very small scale and with a meticulous technique. It is said that the artist produced the brushes himself to paint even the finest details,. With Jan Steen, Dou was one of the founders of the Guild of St. Luke of Leiden in 1648. Unlike Steen, Dou led a respectful and successful life, also on the international scene, so much so that he refused an invitation from Charles II to visit England. His works were even better paid than Rembrandt’s. His portraits changed, moving from his "Rembrandt" phase to the creation of national subjects, rich in details and accessories. The colours became colder and the technique more refined. He began painting scenes of daily life, depicting domestic interiors, kitchens with vegetables, poultry, and utensils, as can be seen in his work "Young Mother" of 1658. The typical feature of his works is the "frame within the frame", or the depiction of images in which the viewer looks through a gray stone window into a domestic interior. Dou died in Leiden in 1675. His most famous student was Frans van Mieris the Elder. Dou painted0 more than 200 works, mostly small ones, that are scattered throughout various museums around the world.
Panel in fair overall condition considering the painting’s age; there are some small horizontal cracks, anchored on the back (see photo), scattered restorations and some slight peeling, but nothing truly significant. Panel size: 29 x 23 cm.
The painting is sold with a beautiful gilded wood frame, probably from the late 19th century (frame size: about 45 x 39 x 5 cm).

Origin: private collection.

Publication:
 Unpublished;
 I MITI E IL TERRITORIO nella Sicilia dalle mille culture. INEDITA QUADRERIA, general catalogue of the paintings in the collection of the cycle ‘I miti e il territorio’, published by Lab_04, Marsala, (now printing, 2021).


Supplied with certificate of warranty and certificate of lawful origin. The documents will be sent separately (after receiving payment from Catawiki via email).

We guarantee an accurate packaging with outer wooden crate and inner bubble wrap / cardboard / polystyrene (packaging cost: approximately €100.00) and trackable shipping (€100.00 Italy). For export, the work is subject to a new request for Certificate of Free Circulation (European Community) or Export Certificate (Extra-EU Transport), at the export office (Soprintendenza del Territorio) with additional times and costs (€300/€500, all inclusive: shipping, packaging and export documents).

Los-Details
Objekt
Gemälde
Künstler
Pittore Caravaggesco del XVII secolo
Titel des Kunstwerks
Artista che disegna un putto a lume di candela
Zeitraum
1700 und früher
Technik
Öl auf Holz, cm. 29 x 23, Öl auf Tafel
Signatur
Nicht signiert
Ausgabe
Opera Museale
Zustand
Angemessener Zustand
20 kg
Gesamtgröße
55×11×50 cm
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