Натюрморт с корзиной фруктов, с двумя гроздьями фруктов и синицами на каменном столе
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oil on canvas
22'/? by 39>/2 in. 57.2 by 100.3 cm.
Juan Perez de Montalvan's Indice de los ingenios de Madrid published in 1633 (two years after van der Hamen's death), discusses in brief over 500 of the Spanish court's chief intellectuals, mostly men of letters.
Juan van der Hamen is the only artist to be included and is described as "among the most celebrated painters of our century...[who] exceeded Nature herself...and... if he were living, he would be the greatest Spaniard of his art" (fol. 215). And, unusually for a painter of still lifes (the lowliest of the genres), van der Hamen succeeded in all categories of painting, from portraits to history painting. But it was his still life painting which specifically inspired an extraordinary range of laudatory verse, and for which he is best remembered today.
Juan van der Hamen was born in Madrid (of a Flemish father) and must have received his artistic training there. His activity as a painter is first recorded in the royal household accounts of El Pardo only in late 1619 (that in relation to a still life of fruit and game). The present painting shows van der Hamen's talents at their best. In its ordered and symmetrical composition, it reveals his deep roots in the strict formalism of the Castilian School, as epitomized by his predecessor Juan Sanchez Cotan (1560-1627).
Despite the obvious Spanish quality of the present lot, it is interesting to note that van der Hamen produced other still lifes reflecting the taste of his Flemish contemporaries while also simultaneously working in this thoroughly Iberian idiom. In fact, Jordan (see exhibited pp. 107-109 below) notes that the composition of the fruit and birds in the present work is the same as that in a signed still life in the Escorial, which emulates the work of Frans Snyders. In the latter, the fruit is contained in a Chinese export porcelain bowl ("he took the same arrangement of fruits and birds that he had used in the 1621 Escorial panel,... transferred it to a wicker basket of distinctly Spanish design, arranged everthing symetrically within a shadowy window setting in the manner of Sanchez Cotan, added hanging apples and grapes, and transformed the motif from one of Flemish reference to one of Castilian reference... [van der Hamen] intermittently painted works of a Flemish compositional type throughout his career, no doubt responding to an important element of taste for such pictures in Madrid"). The present picture is dated 1622 and it is worth recalling that all of van der Hamen's known work was executed essentially in the single decade before his death in 1631. [For a complete discussion of the artist's life and work, see Jordan (in exhibited below, pp. 103-146).]
The present picture will be included in a catalogue raisonne of the artist being prepared by Dr. William Jordan for publication by Yale University Press in the spring of 1996.
Sale: Sotheby's London, December 13, 1978, lot 101 (sold as a pair with Still Life of Fruit and Cakes which is still in the collection of the present owner)
W. B. Jordan, Spanish Still Life in the Golden Age 1600-1650, Kimbell Art Museum, Fort Worth, 1985, pp. 107-109, illus. Fig. VI.8
Цена лота ($450,000-550,000)
Цена за изготовления живописной копии 57.2х100.3 cm.равна 2080$
Альбомы с аукционов Кристи и Сотбиспользуются популярностью среди любителей живописи так как эти альбомы выпускаются очень маленьким тиражем и в них печатаются картины, находящиеся в частных коллекциях и неизвестны широкой публике и поэтому представляющие интерес для тех кто хочет иметь живописную копию понравившейся картины, тем более, что в мире будет всего 2 зкземпляра этой картины-у владельца подлинника и у владельца копии.
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