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拍品专文
This painting relates to a print by Boëtius Adamsz. Bolswert, whose composition has been invented by Joos Goeimare (Hollstein III, 62, no. 8). The subject certainly goes back to the compositions by Pieter Aertsen, who introduced a number of new themes into Dutch painting, the earliest examples of which date from the beginning of the 1550s. There were infact no precedents at all for his kitchen scenes, such as his Kitchen Scene with Christ in the House of Martha and Mary, 1553 (Rotterdam, Museum Boymans-van Beuningen). The same subject has also been illustrated by Aertsen's most talented pupil, Joachim Beuckelaer Kitchen Piece with Christ in the House of Martha and Mary, 1565; Stockholm, National museum).
Much has been said about these sixteenth-century kitchen pieces that include representations of Christ in the House of Martha and Mary. If on one hand they seem to represent the contrast between vita activa (Martha) and vita contemplativa (Maria), it must not be forgotten that the negative characterization of the figure of Martha in the Biblical recount contrasts with the positive content of the active life in the ecclesiastical tradition. If this dicotomy is still unsolved, more literary meaning of the story implies a condemnation of excessive eating and drinking, as well as the universal presence of Christ, even in the everyday life of a kitchen. For a more detailed discussion on the subject, see H. Buijs, 'Voorstellingen van Christus in het huis van Martha en Maria in het zestiendeeeuwse keukenstuk', Pieter Aertsen, The Hague, 1990, pp. 93-128).
Much has been said about these sixteenth-century kitchen pieces that include representations of Christ in the House of Martha and Mary. If on one hand they seem to represent the contrast between vita activa (Martha) and vita contemplativa (Maria), it must not be forgotten that the negative characterization of the figure of Martha in the Biblical recount contrasts with the positive content of the active life in the ecclesiastical tradition. If this dicotomy is still unsolved, more literary meaning of the story implies a condemnation of excessive eating and drinking, as well as the universal presence of Christ, even in the everyday life of a kitchen. For a more detailed discussion on the subject, see H. Buijs, 'Voorstellingen van Christus in het huis van Martha en Maria in het zestiendeeeuwse keukenstuk', Pieter Aertsen, The Hague, 1990, pp. 93-128).