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Dutch or Flemish school; 17th century."Portrait of a merchant or sailor", c. 1640.Oil on panel.
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Description
Dutch or Flemish school; 17th century.
"Portrait of a merchant or sailor", c. 1640.
Oil on panel. Engatillada.
It has a label of provenance: Count Tomar.
Measurements: 116, 5 x 85 cm; 142 x 112 cm (frame).
The author of this work shows us a royal and magnificent image, following the models established in the portrait of previous epoch, the artist places the protagonist of the scene between two big curtains that contribute a great theatricality to the scene, in the last plane we can appreciate an interior where a frame stands out in which there is the heraldic shield of the family to which the protagonist belongs, This is a symbol of his social relevance and also shows a portrait inherited from earlier aesthetic formulas, as in the Baroque period the background is completely eliminated and replaced by dark tones that help to monumentalise the figure. As for the main figure, he is portrayed almost in his entirety, turned three-quarter length, dressed in his uniform, sword and baton of command, thus consolidating his social importance, already intuited through the coat of arms. As for the technique, it is worth noting the great realism of the face, which shows us a mature person, with a forehead furrowed with wrinkles, and this realism and quality is also reflected in the clothing, with the white collar topped with lace.
It was undoubtedly in the paintings of the Dutch school that the consequences of the political emancipation of the region, as well as the economic prosperity of the liberal bourgeoisie, were most openly 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. As a result of the break with Rome and the iconoclastic tendency of the Reformed Church, paintings with religious themes were eventually eliminated as a decorative complement with a devotional purpose, and mythological stories lost their heroic and sensual tone in accordance with the new society. Portraits, landscapes and animals, still lifes and genre painting were the thematic formulas that became valuable in their own right and, as objects of domestic furniture - hence the small size of the paintings - were acquired by individuals from almost all social classes and classes of society.
"Portrait of a merchant or sailor", c. 1640.
Oil on panel. Engatillada.
It has a label of provenance: Count Tomar.
Measurements: 116, 5 x 85 cm; 142 x 112 cm (frame).
The author of this work shows us a royal and magnificent image, following the models established in the portrait of previous epoch, the artist places the protagonist of the scene between two big curtains that contribute a great theatricality to the scene, in the last plane we can appreciate an interior where a frame stands out in which there is the heraldic shield of the family to which the protagonist belongs, This is a symbol of his social relevance and also shows a portrait inherited from earlier aesthetic formulas, as in the Baroque period the background is completely eliminated and replaced by dark tones that help to monumentalise the figure. As for the main figure, he is portrayed almost in his entirety, turned three-quarter length, dressed in his uniform, sword and baton of command, thus consolidating his social importance, already intuited through the coat of arms. As for the technique, it is worth noting the great realism of the face, which shows us a mature person, with a forehead furrowed with wrinkles, and this realism and quality is also reflected in the clothing, with the white collar topped with lace.
It was undoubtedly in the paintings of the Dutch school that the consequences of the political emancipation of the region, as well as the economic prosperity of the liberal bourgeoisie, were most openly 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. As a result of the break with Rome and the iconoclastic tendency of the Reformed Church, paintings with religious themes were eventually eliminated as a decorative complement with a devotional purpose, and mythological stories lost their heroic and sensual tone in accordance with the new society. Portraits, landscapes and animals, still lifes and genre painting were the thematic formulas that became valuable in their own right and, as objects of domestic furniture - hence the small size of the paintings - were acquired by individuals from almost all social classes and classes of society.
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Dutch or Flemish school; 17th century.
"Portrait of a merchant or sailor", c. 1640.
Oil on panel. Engatillada.
It has a label of provenance: Count Tomar.
Measurements: 116, 5 x 85 cm; 142 x 112 cm (frame).
The author of this work shows us a royal and magnificent image, following the models established in the portrait of previous epoch, the artist places the protagonist of the scene between two big curtains that contribute a great theatricality to the scene, in the last plane we can appreciate an interior where a frame stands out in which there is the heraldic shield of the family to which the protagonist belongs, This is a symbol of his social relevance and also shows a portrait inherited from earlier aesthetic formulas, as in the Baroque period the background is completely eliminated and replaced by dark tones that help to monumentalise the figure. As for the main figure, he is portrayed almost in his entirety, turned three-quarter length, dressed in his uniform, sword and baton of command, thus consolidating his social importance, already intuited through the coat of arms. As for the technique, it is worth noting the great realism of the face, which shows us a mature person, with a forehead furrowed with wrinkles, and this realism and quality is also reflected in the clothing, with the white collar topped with lace.
It was undoubtedly in the paintings of the Dutch school that the consequences of the political emancipation of the region, as well as the economic prosperity of the liberal bourgeoisie, were most openly 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. As a result of the break with Rome and the iconoclastic tendency of the Reformed Church, paintings with religious themes were eventually eliminated as a decorative complement with a devotional purpose, and mythological stories lost their heroic and sensual tone in accordance with the new society. Portraits, landscapes and animals, still lifes and genre painting were the thematic formulas that became valuable in their own right and, as objects of domestic furniture - hence the small size of the paintings - were acquired by individuals from almost all social classes and classes of society.
"Portrait of a merchant or sailor", c. 1640.
Oil on panel. Engatillada.
It has a label of provenance: Count Tomar.
Measurements: 116, 5 x 85 cm; 142 x 112 cm (frame).
The author of this work shows us a royal and magnificent image, following the models established in the portrait of previous epoch, the artist places the protagonist of the scene between two big curtains that contribute a great theatricality to the scene, in the last plane we can appreciate an interior where a frame stands out in which there is the heraldic shield of the family to which the protagonist belongs, This is a symbol of his social relevance and also shows a portrait inherited from earlier aesthetic formulas, as in the Baroque period the background is completely eliminated and replaced by dark tones that help to monumentalise the figure. As for the main figure, he is portrayed almost in his entirety, turned three-quarter length, dressed in his uniform, sword and baton of command, thus consolidating his social importance, already intuited through the coat of arms. As for the technique, it is worth noting the great realism of the face, which shows us a mature person, with a forehead furrowed with wrinkles, and this realism and quality is also reflected in the clothing, with the white collar topped with lace.
It was undoubtedly in the paintings of the Dutch school that the consequences of the political emancipation of the region, as well as the economic prosperity of the liberal bourgeoisie, were most openly 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. As a result of the break with Rome and the iconoclastic tendency of the Reformed Church, paintings with religious themes were eventually eliminated as a decorative complement with a devotional purpose, and mythological stories lost their heroic and sensual tone in accordance with the new society. Portraits, landscapes and animals, still lifes and genre painting were the thematic formulas that became valuable in their own right and, as objects of domestic furniture - hence the small size of the paintings - were acquired by individuals from almost all social classes and classes of society.
28th September - Old Masters
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