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Flemish School, David TENIERS Circle (Antwerp, 1610 - Brussels, 1690); second third of the 17th
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Description
Flemish School, David TENIERS Circle (Antwerp, 1610 - Brussels, 1690); second third of the 17th century.
"Interior scenes".
Oil on canvas. Re-coloured.
It has a Dutch style frame with gilt decoration.
Measurements: 18 x 23 cm (x2); 39 x 43 cm (frames, x2).
Pair of genre scenes with a similar composition and subject matter. In each of the paintings, the author moves the main character to one side of the scene, thus giving a great prominence to the still lifes that complete the composition in both cases. Artistically, the style and subject matter of these works belong to the circle of David Temieras. The son of David Teniers I, Teniers remained faithful to his father's style in his youth. However, he soon specialised in genre painting, closely linked to the Flemish tradition. In 1638 he joined the Guild of Saint Luke, of which he later became dean. Among his patrons were the Bishop of Ghent and Archduke Leopold William. Teniers was also artistic director of the archduke's collection, a position that included not only the conservation of paintings but also the responsibility for choosing and acquiring new works for what was one of the most important collections of 17th-century painting. This gave the painter the opportunity to become acquainted with and study at first hand works by both contemporary and earlier masters of various schools and genres. In 1651 he moved to Brussels on the occasion of his appointment as court painter, a post he retained with the arrival of the new archduke, John Joseph of Austria. He was free to work for other patrons, including the greatest art connoisseurs of the 17th century: Christina of Sweden, William II of Orange and Philip IV. Supported by the latter, in 1669 he succeeded in realising his project to create the Antwerp Academy. His influence extended into the 18th century, and his works formed part of the collections of the first Spanish Bourbons. His compositions were copied in tapestries that adorned the royal palace in Madrid, giving rise to a very popular genre known as "a la Teniers". Works by Teniers can be found in the most important museums in the world, including the Prado, the Hermitage, the Louvre, the Metropolitan in New York, the National Galleries in London, Washington and Prague, the Rijksmuseum, the Royal Collection in London, the Ashmolean in Oxford, the Poldi Pezzoli in Milan, the Museum of Western Art in Tokyo, the Thyssen-Bornemisza Museum, and the Fine Arts Museums in Brussels, Vienna, Antwerp and Dresden.
"Interior scenes".
Oil on canvas. Re-coloured.
It has a Dutch style frame with gilt decoration.
Measurements: 18 x 23 cm (x2); 39 x 43 cm (frames, x2).
Pair of genre scenes with a similar composition and subject matter. In each of the paintings, the author moves the main character to one side of the scene, thus giving a great prominence to the still lifes that complete the composition in both cases. Artistically, the style and subject matter of these works belong to the circle of David Temieras. The son of David Teniers I, Teniers remained faithful to his father's style in his youth. However, he soon specialised in genre painting, closely linked to the Flemish tradition. In 1638 he joined the Guild of Saint Luke, of which he later became dean. Among his patrons were the Bishop of Ghent and Archduke Leopold William. Teniers was also artistic director of the archduke's collection, a position that included not only the conservation of paintings but also the responsibility for choosing and acquiring new works for what was one of the most important collections of 17th-century painting. This gave the painter the opportunity to become acquainted with and study at first hand works by both contemporary and earlier masters of various schools and genres. In 1651 he moved to Brussels on the occasion of his appointment as court painter, a post he retained with the arrival of the new archduke, John Joseph of Austria. He was free to work for other patrons, including the greatest art connoisseurs of the 17th century: Christina of Sweden, William II of Orange and Philip IV. Supported by the latter, in 1669 he succeeded in realising his project to create the Antwerp Academy. His influence extended into the 18th century, and his works formed part of the collections of the first Spanish Bourbons. His compositions were copied in tapestries that adorned the royal palace in Madrid, giving rise to a very popular genre known as "a la Teniers". Works by Teniers can be found in the most important museums in the world, including the Prado, the Hermitage, the Louvre, the Metropolitan in New York, the National Galleries in London, Washington and Prague, the Rijksmuseum, the Royal Collection in London, the Ashmolean in Oxford, the Poldi Pezzoli in Milan, the Museum of Western Art in Tokyo, the Thyssen-Bornemisza Museum, and the Fine Arts Museums in Brussels, Vienna, Antwerp and Dresden.
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Flemish School, David TENIERS Circle (Antwerp, 1610 - Brussels, 1690); second third of the 17th century.
"Interior scenes".
Oil on canvas. Re-coloured.
It has a Dutch style frame with gilt decoration.
Measurements: 18 x 23 cm (x2); 39 x 43 cm (frames, x2).
Pair of genre scenes with a similar composition and subject matter. In each of the paintings, the author moves the main character to one side of the scene, thus giving a great prominence to the still lifes that complete the composition in both cases. Artistically, the style and subject matter of these works belong to the circle of David Temieras. The son of David Teniers I, Teniers remained faithful to his father's style in his youth. However, he soon specialised in genre painting, closely linked to the Flemish tradition. In 1638 he joined the Guild of Saint Luke, of which he later became dean. Among his patrons were the Bishop of Ghent and Archduke Leopold William. Teniers was also artistic director of the archduke's collection, a position that included not only the conservation of paintings but also the responsibility for choosing and acquiring new works for what was one of the most important collections of 17th-century painting. This gave the painter the opportunity to become acquainted with and study at first hand works by both contemporary and earlier masters of various schools and genres. In 1651 he moved to Brussels on the occasion of his appointment as court painter, a post he retained with the arrival of the new archduke, John Joseph of Austria. He was free to work for other patrons, including the greatest art connoisseurs of the 17th century: Christina of Sweden, William II of Orange and Philip IV. Supported by the latter, in 1669 he succeeded in realising his project to create the Antwerp Academy. His influence extended into the 18th century, and his works formed part of the collections of the first Spanish Bourbons. His compositions were copied in tapestries that adorned the royal palace in Madrid, giving rise to a very popular genre known as "a la Teniers". Works by Teniers can be found in the most important museums in the world, including the Prado, the Hermitage, the Louvre, the Metropolitan in New York, the National Galleries in London, Washington and Prague, the Rijksmuseum, the Royal Collection in London, the Ashmolean in Oxford, the Poldi Pezzoli in Milan, the Museum of Western Art in Tokyo, the Thyssen-Bornemisza Museum, and the Fine Arts Museums in Brussels, Vienna, Antwerp and Dresden.
"Interior scenes".
Oil on canvas. Re-coloured.
It has a Dutch style frame with gilt decoration.
Measurements: 18 x 23 cm (x2); 39 x 43 cm (frames, x2).
Pair of genre scenes with a similar composition and subject matter. In each of the paintings, the author moves the main character to one side of the scene, thus giving a great prominence to the still lifes that complete the composition in both cases. Artistically, the style and subject matter of these works belong to the circle of David Temieras. The son of David Teniers I, Teniers remained faithful to his father's style in his youth. However, he soon specialised in genre painting, closely linked to the Flemish tradition. In 1638 he joined the Guild of Saint Luke, of which he later became dean. Among his patrons were the Bishop of Ghent and Archduke Leopold William. Teniers was also artistic director of the archduke's collection, a position that included not only the conservation of paintings but also the responsibility for choosing and acquiring new works for what was one of the most important collections of 17th-century painting. This gave the painter the opportunity to become acquainted with and study at first hand works by both contemporary and earlier masters of various schools and genres. In 1651 he moved to Brussels on the occasion of his appointment as court painter, a post he retained with the arrival of the new archduke, John Joseph of Austria. He was free to work for other patrons, including the greatest art connoisseurs of the 17th century: Christina of Sweden, William II of Orange and Philip IV. Supported by the latter, in 1669 he succeeded in realising his project to create the Antwerp Academy. His influence extended into the 18th century, and his works formed part of the collections of the first Spanish Bourbons. His compositions were copied in tapestries that adorned the royal palace in Madrid, giving rise to a very popular genre known as "a la Teniers". Works by Teniers can be found in the most important museums in the world, including the Prado, the Hermitage, the Louvre, the Metropolitan in New York, the National Galleries in London, Washington and Prague, the Rijksmuseum, the Royal Collection in London, the Ashmolean in Oxford, the Poldi Pezzoli in Milan, the Museum of Western Art in Tokyo, the Thyssen-Bornemisza Museum, and the Fine Arts Museums in Brussels, Vienna, Antwerp and Dresden.
7th September - Old Masters
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