37
ECOLE FLAMANDE - Huile sur panneau
Roses and lilies in a vase
Oil on panel 61.5 x 38.5 cmIn a highly stretched vertical format that hugs the tall stems of the lilies, this painting depicts a bouquet according to a hierarchy in which the laws of botany compete with those of religious symbolism. Dominating the composition, three majestic white lilies evoke Marian purity. Beneath their half-open corollas, a few more rural flowers, crocuses, campanulas and other irises, are scattered. Finally, a crown of white, red or pink roses set the base of the bouquet, recalling the passion of Christ. Punctuating this slender bouquet, small flowers intersperse their tiny corollas. At the foot of the vase, however, a few petals have fallen off, announcing a final fanatical mood. For, splendid as it is, this bouquet is destined to disappear, its flowers to wither... By showing the beginnings, the painter affirms its role as a vanity. Discreetly symmetrical, the composition generates a sensation of balance and harmony. Richly decorated with antique motifs, garlands and grotesques, the vase bears witness to the taste of the time for Antiquity and its splendours. Precious and elegant, this floral composition offers a perfect synthesis of the golden age of European Baroque painting, where the Flemish attention to nature, inherited here from Ambrosius Bosschaert (1573-1621), meets the Italian painters' infatuation with antiquity. It shows the craze for bouquets and still lifes of flowers and fruit, reproduced with fidelity and delicacy, and pretexts to discreetly evoke the divine. The symbolism of the flowers, linked to the Passion of Christ, such as the rose or the carnation, competes with a real interest in the observation of nature. The care taken in the reproduction of vegetation shows an exceptional quality of observation and analysis. Many Flemish and Dutch painters tended to specialise in this particular genre in which they excelled, such as Balthasar van der Ast (1594-1657), Philippe de Marlier (1595/1605-1668) and Hendrik van der Borcht, the Elder (1583-1651), to whom one would be tempted to attribute this work.
Provenance: Private collection, Germany.Roses and lilies in a vase
Oil on panel 61.5 x 38.5 cmIn a highly stretched vertical format that hugs the tall stems of the lilies, this painting depicts a bouquet according to a hierarchy in which the laws of botany compete with those of religious symbolism. Dominating the composition, three majestic white lilies evoke Marian purity. Beneath their half-open corollas, a few more rural flowers, crocuses, campanulas and other irises, are scattered. Finally, a crown of white, red or pink roses set the base of the bouquet, recalling the passion of Christ. Punctuating this slender bouquet, small flowers intersperse their tiny corollas. At the foot of the vase, however, a few petals have fallen off, announcing a final fanatical mood. For, splendid as it is, this bouquet is destined to disappear, its flowers to wither... By showing the beginnings, the painter affirms its role as a vanity. Discreetly symmetrical, the composition generates a sensation of balance and harmony. Richly decorated with antique motifs, garlands and grotesques, the vase bears witness to the taste of the time for Antiquity and its splendours. Precious and elegant, this floral composition offers a perfect synthesis of the golden age of European Baroque painting, where the Flemish attention to nature, inherited here from Ambrosius Bosschaert (1573-1621), meets the Italian painters' infatuation with antiquity. It shows the craze for bouquets and still lifes of flowers and fruit, reproduced with fidelity and delicacy, and pretexts to discreetly evoke the divine. The symbolism of the flowers, linked to the Passion of Christ, such as the rose or the carnation, competes with a real interest in the observation of nature. The care taken in the reproduction of vegetation shows an exceptional quality of observation and analysis. Many Flemish and Dutch painters tended to specialise in this particular genre in which they excelled, such as Balthasar van der Ast (1594-1657), Philippe de Marlier (1595/1605-1668) and Hendrik van der Borcht, the Elder (1583-1651), to whom one would be tempted to attribute this work.
Provenance: Private collection, Germany.Galerie Dreyfus Auction
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