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Lot Essay
This picture is a rare example of Lely's landscapes with 'small figures' before he came to England, circa 1643. In London he flourished as a portraitist, and although he continued to paint some history and subject pieces, including the Italianate Nymphs by a Fountain (c.1650, Dulwich Picture Gallery), Lely found the demand for his portraiture greater, filling the gap left by the death of Sir Anthony van Dyck (1599-1641). In the earliest published account of Lely's career, 1695, Richard Graham states that the artist 'persu'd the natural bent of his Genius in Landtschapes with small Figures, and Historical Compositions: but finding the practice of Painting after the Life generally more encourag'd, he apply's himself to Portraits...'.
An early work, the present lot revisits a theme well established in the work of earlier artists such as Titian and Rubens. Its composition follows a fairly standard pattern found in other works from this period of Lely's career, where the figures are arranged in an off-central triangular grouping bathed in the golden light of the evening, before a characteristically densely foliated landscape. Female nudes in various stages of undress are shown from various angles to the enjoyment of the viewer. Victorian sensibilities sought to elevate the subject matter of the painting and change the subject to The Finding of Moses by adding the baby Moses and his basket during the 19th century. Subsequent cleaning has restored the work to its intended subject matter.
We are grateful to Diana Dethloff for her kind assistance in preparing this catalogue entry.
An early work, the present lot revisits a theme well established in the work of earlier artists such as Titian and Rubens. Its composition follows a fairly standard pattern found in other works from this period of Lely's career, where the figures are arranged in an off-central triangular grouping bathed in the golden light of the evening, before a characteristically densely foliated landscape. Female nudes in various stages of undress are shown from various angles to the enjoyment of the viewer. Victorian sensibilities sought to elevate the subject matter of the painting and change the subject to The Finding of Moses by adding the baby Moses and his basket during the 19th century. Subsequent cleaning has restored the work to its intended subject matter.
We are grateful to Diana Dethloff for her kind assistance in preparing this catalogue entry.