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拍品專文
Petrus van Schendel was born as the son of Gijsbertus van Schendel and Geertruida Brox, in the village of Terheyden. After the death of his father, the family moved to Breda. In 1822, van Schendel moved to Antwerp, where he would live until 1828. Here, he studied at the Academy of Fine Arts, where he was awarded a Golden Medal for 'doorzichtkunde' (the use of perspective). From 1827 onwards, van Schendel frequently exhibited his work at several exhibitions, such as the 'Tentoonstelling van Levende meesters' in The Hague, Rotterdam and Amsterdam, and at the 'Driejaarlijkse Salons', or triennial salons, in Antwerp, Brussels and Ghent. After his education in Antwerp, van Schendel returned to live with his brother in Breda and Amsterdam until he met Elizabeth Grasveld, his first wife with whom he would have thirteen children. Elizabeth passed away in 1850, after which van Schendel re-married twice more and had two more children.
Van Schendel's education is mirrored by his work, showing the executive influences on his work, which can be traced thoughout his artistic career. During his time at the Antwerp Academy, his work clearly shows influences from its head master, the famous history painter, Mattheus Ignatius van Bree (1773-1838). In this period, van Schendel's work echoes the academic and classical mode of education, where sketching after classical statuettes and after real life models was considered the fundament of its teaching method.
From 1845 until his death in 1870, van Schendel would predominantly work with models posing in his darkened studio, where he could adapt the artificial light source to his own liking. These studies he made, were elaborated with proper lighting.
Van Schendel's paintings are particularly known for the artistry in his handling of the light. Careful positioning of the light source takes up a vital part in van Schendels so-called nocturnes, or candle- or moonlit market scenes. In the present lot, the figures in the foreground are illuminated by the flame of a candle, while the silhouettes in the background are surrounded by backlight, which are stylistic elements successfully deployed by van Schendel.
On the basis of other compositions and the figurations, the painting can be dated to circa 1864.
We wish to thank Mr. Jan de Meere for his kind assistance in cataloguing the present lot.
Van Schendel's education is mirrored by his work, showing the executive influences on his work, which can be traced thoughout his artistic career. During his time at the Antwerp Academy, his work clearly shows influences from its head master, the famous history painter, Mattheus Ignatius van Bree (1773-1838). In this period, van Schendel's work echoes the academic and classical mode of education, where sketching after classical statuettes and after real life models was considered the fundament of its teaching method.
From 1845 until his death in 1870, van Schendel would predominantly work with models posing in his darkened studio, where he could adapt the artificial light source to his own liking. These studies he made, were elaborated with proper lighting.
Van Schendel's paintings are particularly known for the artistry in his handling of the light. Careful positioning of the light source takes up a vital part in van Schendels so-called nocturnes, or candle- or moonlit market scenes. In the present lot, the figures in the foreground are illuminated by the flame of a candle, while the silhouettes in the background are surrounded by backlight, which are stylistic elements successfully deployed by van Schendel.
On the basis of other compositions and the figurations, the painting can be dated to circa 1864.
We wish to thank Mr. Jan de Meere for his kind assistance in cataloguing the present lot.