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Provenant d'une importante collection particulière parisienne
ÉCOLE HOLLANDAISE VERS 1590
Un Repas de famille
Details
ÉCOLE HOLLANDAISE VERS 1590
Un Repas de famille
indistinctement signé (au centre, à gauche, sur un plat)
huile sur panneau
93,5 x 132,5 cm (36 7⁄8 x 52 ¼ in.)
Un Repas de famille
indistinctement signé (au centre, à gauche, sur un plat)
huile sur panneau
93,5 x 132,5 cm (36 7⁄8 x 52 ¼ in.)
Provenance
Vente anonyme, hôtel Drouot, Paris, 17 décembre 1993, (Mes Chayette & Calmels), lot 18 (comme Frans Pourbus le Jeune) ;
Acquis au cours de celle-ci par la famille de l'actuel propriétaire, Paris ;
Puis par descendance dans la famille.
Acquis au cours de celle-ci par la famille de l'actuel propriétaire, Paris ;
Puis par descendance dans la famille.
Literature
La Gazette de l'Hôtel Drouot, 1er octobre 1993, 35, p. 51 (comme Frans Pourbus le Jeune), reproduit en noir et blanc.
Further Details
DUTCH SCHOOL CIRCA 1590, A FAMILY MEAL, OIL ON PANEL, INDISTINCTLY SIGNED (CENTRE LEFT)
This wonderfully detailed portrait depicts a husband and wife seated with their six children around a laden table. Hanging on the wall behind the group are the portraits of an elderly couple, likely the parents of the husband, who would have passed away prior to the execution of the work. Their inclusion underlines both the continuation of the family through time and also the belief in a life beyond death; they are momentarily departed but the family will be united again in heaven.
The artist appears to have been aware other group portraits of the of the mid-sixteenth century, such as the Family Portrait by Frans Floris (1517-1570), dated 1561, now in the Museum Wuyts van Campen in Lier (inv. 52) or the Family Portrait now given to Frans Floris and possible thought to show the family of the artist, dated 1577 (fig. 1, Musée Crozatier, Le-Puy-en-Velay inv. 826.4). However, the family’s clothing indicates a date of execution in the 1590s.
Tantalisingly, the artist includes several clues as to the identity of our sitters, who are most likely Mennonites or Anabaptists, both strong cultural groups in the Northern Netherlands at this date. One of the main teaching of both groups was believer’s baptism; they considered baptism as a conscious sign of personal faith based on active study of the Christian faith. This meant that babies were not baptized, instead adult baptism was practiced, following the model of Christ in the New Testament. The inclusion of the scene of the baptism of Christ in the upper right of the composition is thus a strong indication that the family represented followed this practice.
In addition to this very literal clue, the meal that the family is preparing to eat further supports this hypothesis. The father prominently rests his hand on a loaf of bread, and the son in the foreground holds up a bunch of grapes to his mother. Symbolic of the bread and the wine of the eucharist, this simple repast becomes the visual representation of holy communion. This latter was one of the ordinances practiced by Anabaptists, an act that demonstrates the participant’s faith.
This wonderfully detailed portrait depicts a husband and wife seated with their six children around a laden table. Hanging on the wall behind the group are the portraits of an elderly couple, likely the parents of the husband, who would have passed away prior to the execution of the work. Their inclusion underlines both the continuation of the family through time and also the belief in a life beyond death; they are momentarily departed but the family will be united again in heaven.
The artist appears to have been aware other group portraits of the of the mid-sixteenth century, such as the Family Portrait by Frans Floris (1517-1570), dated 1561, now in the Museum Wuyts van Campen in Lier (inv. 52) or the Family Portrait now given to Frans Floris and possible thought to show the family of the artist, dated 1577 (fig. 1, Musée Crozatier, Le-Puy-en-Velay inv. 826.4). However, the family’s clothing indicates a date of execution in the 1590s.
Tantalisingly, the artist includes several clues as to the identity of our sitters, who are most likely Mennonites or Anabaptists, both strong cultural groups in the Northern Netherlands at this date. One of the main teaching of both groups was believer’s baptism; they considered baptism as a conscious sign of personal faith based on active study of the Christian faith. This meant that babies were not baptized, instead adult baptism was practiced, following the model of Christ in the New Testament. The inclusion of the scene of the baptism of Christ in the upper right of the composition is thus a strong indication that the family represented followed this practice.
In addition to this very literal clue, the meal that the family is preparing to eat further supports this hypothesis. The father prominently rests his hand on a loaf of bread, and the son in the foreground holds up a bunch of grapes to his mother. Symbolic of the bread and the wine of the eucharist, this simple repast becomes the visual representation of holy communion. This latter was one of the ordinances practiced by Anabaptists, an act that demonstrates the participant’s faith.
榮譽呈獻
Olivia Ghosh
Specialist