.jpg?w=1)
拍品專文
The Flemish painter, draughtsman and etcher, Cornelis Schut received his early training in Italy where he was particularly influenced by the High Baroque style of the Italians such as Pietro da Cortona.
After his return to Antwerp, he entered the studio of Peter Paul Rubens in 1635, where he learned the necessary skills in order to successfully interpret the themes of the Counter Reformation. This led to him being one of the leading masters in Flanders after the death of both Rubens and Van Dyck in the early 1640s. He received important commissions for churches and monasteries in Antwerp, Brussels and Cologne and others.
In the present lot the Virgin and Child are adored by numerous female saints. At the same time, Mary is crowned by two angels who are joined by several others flying above. Uncommon in such a scene is the inclusion of Joseph, who stares out of the painting to the right of Mary. The various saints can be identified by their distinguishing attributes. To the right is Saint Cecilia holding a small model of organ pipes. Behind her is Saint Dorothy catching flower petals in a basket. Saint Margaret kneels in the foreground, holding a dragon on a leash. On the left of the composition are Saint Catherine of Alexandria leaning on a large wheel, Saint Agnes cradling a lamb, and Saint Catherine of Siena wearing a crown of thorns.
According to Gertrude Wilmers (loc.cit.) the comparatively broad brush strokes, wide range of color and soft lighting point to a date in the late 1630s for this altarpiece. An exact replica of the painting is in the St. Niklaaskerk in Hemiksem. She states that the present lot appears to be of superior execution. The modelling of the figures is more skillful, the hands are better articulated, and the flow of the drapery more natural and less frozen.
A much smaller painting of this subject, possibly a preparatory oil sketch, was sold at auction in Amsterdam in 1803. Another version of the composition in watercolour is in the Rijksprentenkabinet in Amsterdam.
After his return to Antwerp, he entered the studio of Peter Paul Rubens in 1635, where he learned the necessary skills in order to successfully interpret the themes of the Counter Reformation. This led to him being one of the leading masters in Flanders after the death of both Rubens and Van Dyck in the early 1640s. He received important commissions for churches and monasteries in Antwerp, Brussels and Cologne and others.
In the present lot the Virgin and Child are adored by numerous female saints. At the same time, Mary is crowned by two angels who are joined by several others flying above. Uncommon in such a scene is the inclusion of Joseph, who stares out of the painting to the right of Mary. The various saints can be identified by their distinguishing attributes. To the right is Saint Cecilia holding a small model of organ pipes. Behind her is Saint Dorothy catching flower petals in a basket. Saint Margaret kneels in the foreground, holding a dragon on a leash. On the left of the composition are Saint Catherine of Alexandria leaning on a large wheel, Saint Agnes cradling a lamb, and Saint Catherine of Siena wearing a crown of thorns.
According to Gertrude Wilmers (loc.cit.) the comparatively broad brush strokes, wide range of color and soft lighting point to a date in the late 1630s for this altarpiece. An exact replica of the painting is in the St. Niklaaskerk in Hemiksem. She states that the present lot appears to be of superior execution. The modelling of the figures is more skillful, the hands are better articulated, and the flow of the drapery more natural and less frozen.
A much smaller painting of this subject, possibly a preparatory oil sketch, was sold at auction in Amsterdam in 1803. Another version of the composition in watercolour is in the Rijksprentenkabinet in Amsterdam.