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拍品專文
Il s’agit ici du seul portrait ayant survécu de Van Renesse, fonctionnaire de la ville d’Eindhoven, qui à la fin des années 1640 et au début des années 1650 fut l’élève de Rembrandt. D’autres portraits qu’il a réalisés sont documentés (voir Sumowski, op. cit., p. 4955). Ce dessin montre comment Van Renesse a su adapter son style avec succès aux modes de cette seconde moitié du XVIIe siècle. Dans sa technique (craies sur vélin), le dessin rappelle les scènes de genre de son premier professeur, Pieter Quast.
With a provenance going as far back as the sitter’s widow (and daughter-in-law of the artist), this is the only surviving portrait drawing by Van Renesse, a town clerk in Eindhoven, who in the late 1640s and early 1650s was a pupil of Rembrandt. Other portrait drawings by him are documented (see voir Sumowski, op. cit., p. 4955), and these may similarly have revealed little of that training. The drawing shows that Van Renesse successfully adapted his style to the fashion of the second half of the seventeenth century. Although mpuch more delicate in execution and mood, in its technique (chalks on vellum), the drawing is reminiscent of the genre scenes by Van Renesse’s first teacher, Pieter Quast.
With a provenance going as far back as the sitter’s widow (and daughter-in-law of the artist), this is the only surviving portrait drawing by Van Renesse, a town clerk in Eindhoven, who in the late 1640s and early 1650s was a pupil of Rembrandt. Other portrait drawings by him are documented (see voir Sumowski, op. cit., p. 4955), and these may similarly have revealed little of that training. The drawing shows that Van Renesse successfully adapted his style to the fashion of the second half of the seventeenth century. Although mpuch more delicate in execution and mood, in its technique (chalks on vellum), the drawing is reminiscent of the genre scenes by Van Renesse’s first teacher, Pieter Quast.