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拍品專文
The present picture is a prime example of the use of an Italian print in Northern Renaissance Art. Although the influence of such Italian prints in Northern painting has been widely acknowledged, only few exact relations between Italian prints and Italian motifs in Northern paintings have actually been established.
The present picture takes its composition from an engraving by Marcantonio Raimondi, after Raphael's so called Foligno Madonna in the Vatican Museum. The engraving must have served as a direct model for the picture; however, with the intermediary of a cartoon. This is suggested by the scale of the figures, which is larger then in the engraving and by the underdrawing, which is visible to the naked eye and follows closely the outlines of the composition.
The Antwerp origin of the present picture was first reckognised by M.J. Friedländer, who attributed it to the Master of the Parrot, an anonymous master or rather a studio of painters, active in Antwerp circa 1530. Common stylistic Antwerp features are the landscape background, the adaptations in the dress of the Madonna to meet modern fashion and the still life elements on the ledge. However, as Drs. Linda Jansen after inspection of the original has kindly pointed out, the picture does not stylistically belong to the group of Madonnas traditionally associated with this Master of the Parrot. The picture rather shows the widespread influence of Pieter Coecke van Aelst, especially in the face of the Madonna and in her brocade dress and must therefore be dated around 1540/50.
Half-length Madonnas were popular among 16th century collectors and were painted commonly in numerous versions for the Antwerp free market. As no other versions of the present composition exists, Drs. Linda Jansen has suggested that the present picture may have been commissioned.
The present picture takes its composition from an engraving by Marcantonio Raimondi, after Raphael's so called Foligno Madonna in the Vatican Museum. The engraving must have served as a direct model for the picture; however, with the intermediary of a cartoon. This is suggested by the scale of the figures, which is larger then in the engraving and by the underdrawing, which is visible to the naked eye and follows closely the outlines of the composition.
The Antwerp origin of the present picture was first reckognised by M.J. Friedländer, who attributed it to the Master of the Parrot, an anonymous master or rather a studio of painters, active in Antwerp circa 1530. Common stylistic Antwerp features are the landscape background, the adaptations in the dress of the Madonna to meet modern fashion and the still life elements on the ledge. However, as Drs. Linda Jansen after inspection of the original has kindly pointed out, the picture does not stylistically belong to the group of Madonnas traditionally associated with this Master of the Parrot. The picture rather shows the widespread influence of Pieter Coecke van Aelst, especially in the face of the Madonna and in her brocade dress and must therefore be dated around 1540/50.
Half-length Madonnas were popular among 16th century collectors and were painted commonly in numerous versions for the Antwerp free market. As no other versions of the present composition exists, Drs. Linda Jansen has suggested that the present picture may have been commissioned.