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Dutch school; 18th century."Pastoral scene".Oil on canvas. Re-coloured.It presents frame of Dutch
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Beschreibung
Dutch school; 18th century.
"Pastoral scene".
Oil on canvas. Re-coloured.
It presents frame of Dutch style of the 20th century.
Measurements: 92 x 127 cm; 116 x 151 cm (frame).
Oil on canvas of horizontal format, in which an image of country or pastoral character is developed. In the foreground, the author places two characters accompanied by several goats. Due to the important presence of the landscape and the small size of the figures, the artist's special interest in capturing the landscape is evident. It is worth mentioning that this was a period in which the feeling began to take hold that man and nature should be complementary, one reflected in the other. In other words, landscape should arouse emotion and convey ideas. Thus, landscape painters such as the author of this painting tried to express their feelings through the landscape, rather than imitating it. This idea was established through two main strands: the dramatic, with its turbulent, fantastic views, and the naturalistic, which emphasised images of peaceful, serene nature, as in this case. It is this second conception that we see embodied in the present work; the painter seeks to communicate a religious reverence for the landscape, nature in its fullness, free from the industrial elements of modern life. Indeed, the artist's use of light here conveys a dreamlike atmosphere that invites the viewer to meditate and contemplate himself in the landscape. Landscape, however, is made up of very different types of manifestations which are not comparable; it does not affect all the national schools equally, remaining more faithful to tradition in schools such as the Italian, French or Dutch. Thus, in this canvas we do not find the grandiose scenery of the British and Germans, the rugged mountains or the monumental Gothic ruins. On the contrary, it is a landscape centred on the foreground.
It was undoubtedly in the painting of the Dutch school that the consequences of the political emancipation of the region and the economic prosperity of the liberal bourgeoisie were most overtly manifested. The combination of the discovery of nature, objective observation, the study of the concrete, the appreciation of the everyday, the taste for the real and the material, the sensitivity to the apparently insignificant, meant that the Dutch artist was at one with the reality of everyday life, without seeking any ideal that was alien to that same reality. The painter did not seek to transcend the present and the materiality of objective nature or to escape from tangible reality, but to envelop himself in it, to become intoxicated by it through the triumph of realism, a realism of pure illusory fiction, achieved thanks to a perfect, masterly technique and a conceptual subtlety in the lyrical treatment of light.
"Pastoral scene".
Oil on canvas. Re-coloured.
It presents frame of Dutch style of the 20th century.
Measurements: 92 x 127 cm; 116 x 151 cm (frame).
Oil on canvas of horizontal format, in which an image of country or pastoral character is developed. In the foreground, the author places two characters accompanied by several goats. Due to the important presence of the landscape and the small size of the figures, the artist's special interest in capturing the landscape is evident. It is worth mentioning that this was a period in which the feeling began to take hold that man and nature should be complementary, one reflected in the other. In other words, landscape should arouse emotion and convey ideas. Thus, landscape painters such as the author of this painting tried to express their feelings through the landscape, rather than imitating it. This idea was established through two main strands: the dramatic, with its turbulent, fantastic views, and the naturalistic, which emphasised images of peaceful, serene nature, as in this case. It is this second conception that we see embodied in the present work; the painter seeks to communicate a religious reverence for the landscape, nature in its fullness, free from the industrial elements of modern life. Indeed, the artist's use of light here conveys a dreamlike atmosphere that invites the viewer to meditate and contemplate himself in the landscape. Landscape, however, is made up of very different types of manifestations which are not comparable; it does not affect all the national schools equally, remaining more faithful to tradition in schools such as the Italian, French or Dutch. Thus, in this canvas we do not find the grandiose scenery of the British and Germans, the rugged mountains or the monumental Gothic ruins. On the contrary, it is a landscape centred on the foreground.
It was undoubtedly in the painting of the Dutch school that the consequences of the political emancipation of the region and the economic prosperity of the liberal bourgeoisie were most overtly manifested. The combination of the discovery of nature, objective observation, the study of the concrete, the appreciation of the everyday, the taste for the real and the material, the sensitivity to the apparently insignificant, meant that the Dutch artist was at one with the reality of everyday life, without seeking any ideal that was alien to that same reality. The painter did not seek to transcend the present and the materiality of objective nature or to escape from tangible reality, but to envelop himself in it, to become intoxicated by it through the triumph of realism, a realism of pure illusory fiction, achieved thanks to a perfect, masterly technique and a conceptual subtlety in the lyrical treatment of light.
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Dutch school; 18th century.
"Pastoral scene".
Oil on canvas. Re-coloured.
It presents frame of Dutch style of the 20th century.
Measurements: 92 x 127 cm; 116 x 151 cm (frame).
Oil on canvas of horizontal format, in which an image of country or pastoral character is developed. In the foreground, the author places two characters accompanied by several goats. Due to the important presence of the landscape and the small size of the figures, the artist's special interest in capturing the landscape is evident. It is worth mentioning that this was a period in which the feeling began to take hold that man and nature should be complementary, one reflected in the other. In other words, landscape should arouse emotion and convey ideas. Thus, landscape painters such as the author of this painting tried to express their feelings through the landscape, rather than imitating it. This idea was established through two main strands: the dramatic, with its turbulent, fantastic views, and the naturalistic, which emphasised images of peaceful, serene nature, as in this case. It is this second conception that we see embodied in the present work; the painter seeks to communicate a religious reverence for the landscape, nature in its fullness, free from the industrial elements of modern life. Indeed, the artist's use of light here conveys a dreamlike atmosphere that invites the viewer to meditate and contemplate himself in the landscape. Landscape, however, is made up of very different types of manifestations which are not comparable; it does not affect all the national schools equally, remaining more faithful to tradition in schools such as the Italian, French or Dutch. Thus, in this canvas we do not find the grandiose scenery of the British and Germans, the rugged mountains or the monumental Gothic ruins. On the contrary, it is a landscape centred on the foreground.
It was undoubtedly in the painting of the Dutch school that the consequences of the political emancipation of the region and the economic prosperity of the liberal bourgeoisie were most overtly manifested. The combination of the discovery of nature, objective observation, the study of the concrete, the appreciation of the everyday, the taste for the real and the material, the sensitivity to the apparently insignificant, meant that the Dutch artist was at one with the reality of everyday life, without seeking any ideal that was alien to that same reality. The painter did not seek to transcend the present and the materiality of objective nature or to escape from tangible reality, but to envelop himself in it, to become intoxicated by it through the triumph of realism, a realism of pure illusory fiction, achieved thanks to a perfect, masterly technique and a conceptual subtlety in the lyrical treatment of light.
"Pastoral scene".
Oil on canvas. Re-coloured.
It presents frame of Dutch style of the 20th century.
Measurements: 92 x 127 cm; 116 x 151 cm (frame).
Oil on canvas of horizontal format, in which an image of country or pastoral character is developed. In the foreground, the author places two characters accompanied by several goats. Due to the important presence of the landscape and the small size of the figures, the artist's special interest in capturing the landscape is evident. It is worth mentioning that this was a period in which the feeling began to take hold that man and nature should be complementary, one reflected in the other. In other words, landscape should arouse emotion and convey ideas. Thus, landscape painters such as the author of this painting tried to express their feelings through the landscape, rather than imitating it. This idea was established through two main strands: the dramatic, with its turbulent, fantastic views, and the naturalistic, which emphasised images of peaceful, serene nature, as in this case. It is this second conception that we see embodied in the present work; the painter seeks to communicate a religious reverence for the landscape, nature in its fullness, free from the industrial elements of modern life. Indeed, the artist's use of light here conveys a dreamlike atmosphere that invites the viewer to meditate and contemplate himself in the landscape. Landscape, however, is made up of very different types of manifestations which are not comparable; it does not affect all the national schools equally, remaining more faithful to tradition in schools such as the Italian, French or Dutch. Thus, in this canvas we do not find the grandiose scenery of the British and Germans, the rugged mountains or the monumental Gothic ruins. On the contrary, it is a landscape centred on the foreground.
It was undoubtedly in the painting of the Dutch school that the consequences of the political emancipation of the region and the economic prosperity of the liberal bourgeoisie were most overtly manifested. The combination of the discovery of nature, objective observation, the study of the concrete, the appreciation of the everyday, the taste for the real and the material, the sensitivity to the apparently insignificant, meant that the Dutch artist was at one with the reality of everyday life, without seeking any ideal that was alien to that same reality. The painter did not seek to transcend the present and the materiality of objective nature or to escape from tangible reality, but to envelop himself in it, to become intoxicated by it through the triumph of realism, a realism of pure illusory fiction, achieved thanks to a perfect, masterly technique and a conceptual subtlety in the lyrical treatment of light.
10th May - Old Masters
Auktionsdatum
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Aragón 346, Barcelona
Calle Velázquez 7, Madrid
Carrer de Cirilo Amorós 55, Valencia
Barcelona
08009
Spain
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