.jpg?w=1)
Lot Essay
Il soggetto del presente dipinto fu trattato varie volte da Ducamps: per un parallelo stilistico e compositivo cf. in particolare 'I Bari' gi a Milano, Relarte. L'impostazione delle figure intorno al tavolo, il cui piano leggermente inclinato verso lo spettatore, i gesti teatrali dei bari, la resa fedele e calligrafica dei particolari pi minuti e soprattutto le analogie fisionomiche con alcune figure dell'opera gi presso Relarte sono notevoli. Nel presente dipinto il viso e la posizione della donna richiamano quella del giovane giocatore nella versione gi Relarte; anche il viso del giocatore seduto a destra rinvia a quello del baro a destra nella tela milanese (cf. Relarte, Dipinti di due secoli, catalogo della mostra, Milano, 1963, fig. 29). Di origine francese ma formatosi ad Anversa, Ducamps fu a Roma dal 1622 sino al 1638, dove abit prima con Gysbert Kuyl e in seguito con Pieter van Laer. Ducamps, conosciuto a Roma come 'Giovanni del Campo', fu soprannominato 'il Bravo' dal gruppo dei Bentveughels, di cui fu uno dei fondatori. Dopo il 1638 si trasfer in Spagna, dove lavor per Filippo IV, trattenendosi in quel paese fino alla morte. L'opera di Ducamps presenta l'influenza di Cecco del Caravaggio, di Rutilio Manetti e di altri pittori fiorentini coevi. Giuseppe Cantelli ha ritenuto che il gruppo stilistico su cui si incentra il profilo della produzione di Ducamps possa essere ascritto all'attivit giovanile di Giovanni Martinelli (cf. B.Nicolson, Caravaggism in Europe, Torino, 1989, I, pp.104-105).
The subject of the present work was depicted various times by Ducamps: for a stylistic and compositional comparison, please see in particular "The cardplayers" formerly with Relarte, Milano. The manner in which the figures are placed around the table, that is slightly inclined towards the viewer, their theatrical gesticulations, the realistic and calligraphical rendering of even the minutest details, and above all the fysionomical analogies of some of the players with those in the picture formerly at Relarte are remarkable. In the present painting the face and position of the woman recall those of the young player in the Relarte work; also the face of the player seated at the right is highly similare to that of the figure at the right on the Milanese painting (cf. Dipinti di due secoli, exhibition catalogue, Milan, 1963, fig.29). Ducamps, who was of French origin, but had studied in Antwerp, was in Rome between 1622 and 1638. In Rome he lived with Gijsbert van Kuyl and then with Pieter van Laer. Ducamps, in Rome known as "Giovanni del Campo", was called "il Bravo" by the group of the Bentveughels, of which he was one of the founders. After 1638 he moved to Spain, where he worked for Philips IV, and remained in that country untill his death. This work by Ducamps shows the influences of Cecco del Caravaggio, Rutilio Manetti and other painters of the florentine school of that period. Giuseppe Cantelli has argued that within the group of painting attributed to Ducamps there is a section that can be viewed as the early work of Giovanni Martinelli (cf. B. Nicolson, Caravaggism in Europe, Turin, 1989, I, pp.104-105).
The subject of the present work was depicted various times by Ducamps: for a stylistic and compositional comparison, please see in particular "The cardplayers" formerly with Relarte, Milano. The manner in which the figures are placed around the table, that is slightly inclined towards the viewer, their theatrical gesticulations, the realistic and calligraphical rendering of even the minutest details, and above all the fysionomical analogies of some of the players with those in the picture formerly at Relarte are remarkable. In the present painting the face and position of the woman recall those of the young player in the Relarte work; also the face of the player seated at the right is highly similare to that of the figure at the right on the Milanese painting (cf. Dipinti di due secoli, exhibition catalogue, Milan, 1963, fig.29). Ducamps, who was of French origin, but had studied in Antwerp, was in Rome between 1622 and 1638. In Rome he lived with Gijsbert van Kuyl and then with Pieter van Laer. Ducamps, in Rome known as "Giovanni del Campo", was called "il Bravo" by the group of the Bentveughels, of which he was one of the founders. After 1638 he moved to Spain, where he worked for Philips IV, and remained in that country untill his death. This work by Ducamps shows the influences of Cecco del Caravaggio, Rutilio Manetti and other painters of the florentine school of that period. Giuseppe Cantelli has argued that within the group of painting attributed to Ducamps there is a section that can be viewed as the early work of Giovanni Martinelli (cf. B. Nicolson, Caravaggism in Europe, Turin, 1989, I, pp.104-105).