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拍品專文
The staffage is by Anthonie Palamedesz., called Stevers (1601-1671).
The grandson of Bartolt Ernst van Bassen from Arnhem, who was Clerk of the Court of Holland in The Hague, Van Bassen was admitted in 1613 to the Guild of St Luke in Delft, having come from outside the city. In 1622 he became a member of the Guild in The Hague where he was also municipal architect from 1638 until his death. Until about 1626 Van Bassen painted mainly monumental Renaissance-type church interiors, with a view down the centre of the nave, although the inclusion of a pronounced transept or side chapel distinguished his work from the traditional tunnel perspective of the Antwerp painters. After 1626 his interiors became less symmetrical, with the vanishing point less apparent and moved to the side, as in the present work. The space becomes more complex, and the architecture is often either completely or partly Gothic in character. By the 1630s the dichotomy between the orthogonals towards the vanishing point on the one side and the successively receding spaces towards the other side, suggested in this painting but seen more vividly in works such as the Interior of the St Cunerakerk at Rhenen (1638; London, National Gallery), forms one of the most important points of departure for the radical development of the two-point perspective introduced around 1650 by Van Bassen's pupil Gerrit Houckgeest. Towards the end of his life Van Bassen regularly returned to his previous, more monumental and centralized spatial treatment, though changed in a high Baroque style.
The grandson of Bartolt Ernst van Bassen from Arnhem, who was Clerk of the Court of Holland in The Hague, Van Bassen was admitted in 1613 to the Guild of St Luke in Delft, having come from outside the city. In 1622 he became a member of the Guild in The Hague where he was also municipal architect from 1638 until his death. Until about 1626 Van Bassen painted mainly monumental Renaissance-type church interiors, with a view down the centre of the nave, although the inclusion of a pronounced transept or side chapel distinguished his work from the traditional tunnel perspective of the Antwerp painters. After 1626 his interiors became less symmetrical, with the vanishing point less apparent and moved to the side, as in the present work. The space becomes more complex, and the architecture is often either completely or partly Gothic in character. By the 1630s the dichotomy between the orthogonals towards the vanishing point on the one side and the successively receding spaces towards the other side, suggested in this painting but seen more vividly in works such as the Interior of the St Cunerakerk at Rhenen (1638; London, National Gallery), forms one of the most important points of departure for the radical development of the two-point perspective introduced around 1650 by Van Bassen's pupil Gerrit Houckgeest. Towards the end of his life Van Bassen regularly returned to his previous, more monumental and centralized spatial treatment, though changed in a high Baroque style.