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Le Calvaire
细节
JAN BRUEGHEL L'ANCIEN (BRUXELLES 1568-1625 ANVERS)
Le Calvaire
traces de signature 'B...GHEL' (en bas, à gauche)
huile sur cuivre
13,2 x 18 cm (5 3⁄16 x 7 1⁄16 in.)
Le Calvaire
traces de signature 'B...GHEL' (en bas, à gauche)
huile sur cuivre
13,2 x 18 cm (5 3⁄16 x 7 1⁄16 in.)
来源
[Peut-être] vente anonyme, Paris, 1er mars 1758, lot 9 (comme 'Un très beau Tableau de Cabinet sur Cuivre, representant le Mont-Calvaire, avec un nombre infini & innombrable de Figures, par le Breugel de Velours, de 1616, de 6 pouces trois quarts de large sur 4 trois quarts de haut, le plus beau qui soit connu de luy)'.
[Peut-être] Antoine-Jean-Baptiste Dutartre (1714-1803), trésorier des bâtiments ; sa vente, Paris, 19 mars 1804, (Alexandre Paillet), lot 13 (comme 'Breughel [Jean], dit de Velours, Petit Tableau d'une extrême finesse, offrant un Sujet du Calvaire et du Crucifiement, au milieu d'une foule de Peuple. Ouvrage de la première recommandation parmi les productions de cet Artiste, et qui ferait honneur aux plus célèbres Collections. sur cuivre, haut de 5, large de 7 p.') ;
Acquis au cours de celle-ci par Decastre (160 F).
[Probablement] Louis Robert de Saint-Victor (1738-1822) ; sa vente, Paris, 26 novembre 1822, (Le Brun), lot 308 (comme 'Breughel [Jean], Un autre tableau, non moins important que le précédent, représentant un Calvaire, où l'on voit un nombre considérable de figures répandues sur tous les plans du sujet. Sur le devant à droite, on voit la sainte Vierge, la Madeleine et saint Jean livrés à la plus profondé douleur ; et à gauche, des soldats qui disputent la robe de N.S. Le brillant du coloris, la finesse de léxécution, l'art et même le style des figures, donnent à ce tableau un caractère imposant et historique. sur cuivre, l. 7 pouces h. 6 pouces') ;
Acquis au cours de celle-ci par Biancourt (204 F).
Chez galerie de Jonckheere, Genève et Paris, en 1995 ;
Acquis auprès de celle-ci par le père de l'actuel propriétaire.
[Peut-être] Antoine-Jean-Baptiste Dutartre (1714-1803), trésorier des bâtiments ; sa vente, Paris, 19 mars 1804, (Alexandre Paillet), lot 13 (comme 'Breughel [Jean], dit de Velours, Petit Tableau d'une extrême finesse, offrant un Sujet du Calvaire et du Crucifiement, au milieu d'une foule de Peuple. Ouvrage de la première recommandation parmi les productions de cet Artiste, et qui ferait honneur aux plus célèbres Collections. sur cuivre, haut de 5, large de 7 p.') ;
Acquis au cours de celle-ci par Decastre (160 F).
[Probablement] Louis Robert de Saint-Victor (1738-1822) ; sa vente, Paris, 26 novembre 1822, (Le Brun), lot 308 (comme 'Breughel [Jean], Un autre tableau, non moins important que le précédent, représentant un Calvaire, où l'on voit un nombre considérable de figures répandues sur tous les plans du sujet. Sur le devant à droite, on voit la sainte Vierge, la Madeleine et saint Jean livrés à la plus profondé douleur ; et à gauche, des soldats qui disputent la robe de N.S. Le brillant du coloris, la finesse de léxécution, l'art et même le style des figures, donnent à ce tableau un caractère imposant et historique. sur cuivre, l. 7 pouces h. 6 pouces') ;
Acquis au cours de celle-ci par Biancourt (204 F).
Chez galerie de Jonckheere, Genève et Paris, en 1995 ;
Acquis auprès de celle-ci par le père de l'actuel propriétaire.
出版
Journal des Arts, mai 1995, 14, p. 3, reproduit en noir et blanc.
更多详情
JAN BRUEGHEL THE ELDER (1568-1625), CALVARY, OIL ON COPPER, TRACES OF A SIGNATURE (LOWER LEFT)
This delicate copper of the Crucifixion stands as testament to Jan Brueghel the Elder’s (1568-1625) ability to render scenes of incredible complexity in the most perfect detail on a miniature scale. Appearing for the first time at auction, Calvary has not been seen on the market since 1995, and is a fascinating reintroduction into the artist’s oeuvre.
It is most likely that the present painting is the pendant to the Road to Calvary held in the Kunsthaus, Zurich (fig. 1, inv. KS6). Identical in dimension, this painting shares the same approach to composition with the artist’s signature jewel bright colours used in the foreground, whilst the background fades into hazy blues, greens and grays. In both paintings Jan borrows motifs from his father, Pieter Brugel the Elder (c1525⁄1530-1569), most notably his Road to Calvary (fig. 2, Kunsthistorisches Museum, Vienna, inv. 1052), from which he takes the figural group of the grieving Virgin, with Saint John in red leaning over her shoulder, Mary Magdalen and Saint Veronica in yellow.
Interestingly, the group of soldiers fighting over Christ’s cloak at lower right can also be found in a Calvary by the artist’s brother Pieter Brueghel the Younger (1564-1638), now in the church of Saint Séverain in Paris (fig. 3, detail). As Klaus Ertz points out, this shared motif suggests that both brothers were working from a now lost painting by their father (K. Ertz, Jan Brueghel der Ältere (1568-1625): Die Gemälde mit kritischem Oeuvrekatalog, Lingen, 2008⁄2010, II, p. 585, under no. 273).
As Christian Klemm observed in his commentary on the Zurich Road to Calvary, despite these direct quotations from his father’s work, Jan’s approach to the scene is far removed from Pieter’s complex didactic composition and his inherently critical representation of the characters. Although the religious nature of the scene is preserved, Jan’s work should also be understood in the context of the humanist cabinets of curiosity. It is the world in miniature, a microcosm of humanity contained within one precious object (ibid, p. 584, under no. 272).
It is likely that both this and the Zurich painting date to the period just before 1610, but post Jan’s trip to Prague in 1604. This aligns it with an almost identical scene, measuring just 3.5 x 5 cm. that was painted as part of a set of four in 1606 to be included in a stoup for Cardinal Federico Borromeo (1564-1631), now in the Pinacoteca Ambrosiana, Milan (inv. 271C). This set also includes a miniature Road to Calvary (Pinacoteca Ambrosiana, Milan, inv. 271A) that follows the model of the Zurich painting, further underlining the likely relationship between this and the present Calvary.
This delicate copper of the Crucifixion stands as testament to Jan Brueghel the Elder’s (1568-1625) ability to render scenes of incredible complexity in the most perfect detail on a miniature scale. Appearing for the first time at auction, Calvary has not been seen on the market since 1995, and is a fascinating reintroduction into the artist’s oeuvre.
It is most likely that the present painting is the pendant to the Road to Calvary held in the Kunsthaus, Zurich (fig. 1, inv. KS6). Identical in dimension, this painting shares the same approach to composition with the artist’s signature jewel bright colours used in the foreground, whilst the background fades into hazy blues, greens and grays. In both paintings Jan borrows motifs from his father, Pieter Brugel the Elder (c1525⁄1530-1569), most notably his Road to Calvary (fig. 2, Kunsthistorisches Museum, Vienna, inv. 1052), from which he takes the figural group of the grieving Virgin, with Saint John in red leaning over her shoulder, Mary Magdalen and Saint Veronica in yellow.
Interestingly, the group of soldiers fighting over Christ’s cloak at lower right can also be found in a Calvary by the artist’s brother Pieter Brueghel the Younger (1564-1638), now in the church of Saint Séverain in Paris (fig. 3, detail). As Klaus Ertz points out, this shared motif suggests that both brothers were working from a now lost painting by their father (K. Ertz, Jan Brueghel der Ältere (1568-1625): Die Gemälde mit kritischem Oeuvrekatalog, Lingen, 2008⁄2010, II, p. 585, under no. 273).
As Christian Klemm observed in his commentary on the Zurich Road to Calvary, despite these direct quotations from his father’s work, Jan’s approach to the scene is far removed from Pieter’s complex didactic composition and his inherently critical representation of the characters. Although the religious nature of the scene is preserved, Jan’s work should also be understood in the context of the humanist cabinets of curiosity. It is the world in miniature, a microcosm of humanity contained within one precious object (ibid, p. 584, under no. 272).
It is likely that both this and the Zurich painting date to the period just before 1610, but post Jan’s trip to Prague in 1604. This aligns it with an almost identical scene, measuring just 3.5 x 5 cm. that was painted as part of a set of four in 1606 to be included in a stoup for Cardinal Federico Borromeo (1564-1631), now in the Pinacoteca Ambrosiana, Milan (inv. 271C). This set also includes a miniature Road to Calvary (Pinacoteca Ambrosiana, Milan, inv. 271A) that follows the model of the Zurich painting, further underlining the likely relationship between this and the present Calvary.
荣誉呈献
Olivia Ghosh
Specialist