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*DAVID TENIERS II THE YOUNG (Antwerp, 1610 - Brussels, 1690). "The Conversion of Saint Paul.Oil on
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Description
*DAVID TENIERS II THE YOUNG (Antwerp, 1610 - Brussels, 1690).
"The Conversion of Saint Paul.
Oil on copper.
Signed with an anagram in the lower right corner.
Work examined several decades ago by Dr. Aída Padrón Mérida.
Measurements: 21 x 31 cm; 59 x 69 cm (frame).
David Teniers II constructs an ample and expressive scenography to present the theme of the conversion of St. Paul on his way from Jerusalem to Damascus. The prolific artist depicts the precise moment when the divine light blinds Paul who, in the centre of the composition, falls from his horse, while his soldiers run in panic in different directions, stunned by an apparently inexplicable event. In favour of the prominence of the heavens, Teniers renounces any architectural reference. A beam of magical, diffused light filters through the clouds, revealing the intangible presence of God, transforming Paul's miraculous conversion to Christianity into a rich and varied display of horses in action and daring twists and turns. Teniers endows the work with a sense of narrative and symbolism: although the crescent moon on one of the banners leads one to interpret the scene as a confrontation between Turks and Romans, it is probably really intended to evoke pagan Rome, considered as the infidel people. The dynamic, moving conception of the subject is in keeping with the fantasy of the period and the popularising power of Baroque engravers such as Antonio Tempesta. Teniers's training as a genre painter is demonstrated by the small dog running around in the foreground, a common device in his domestic scenes and peasant scenes.
David Teniers II, son of David Teniers I, remained faithful to his father's style in his youth but soon specialised in genre painting. In 1638 he joined the Guild of Saint Luke, of which he was later to become dean. Among his patrons were the Bishop of Ghent and Archduke Leopold William. Teniers was also the artistic director of the archduke's collection and was responsible for the conservation of the paintings and for choosing and acquiring new works for what was one of the most important collections of 17th-century painting. In 1651 he was appointed court painter to Archduke John Joseph of Austria and moved to Brussels. Despite this, he continued to work for other patrons, including the greatest art connoisseurs of the 17th century: Christina of Sweden, William II of Orange and Philip IV. Works by Teniers are to 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, and the Fine Arts Museums in Brussels, Vienna, Antwerp and Dresden.
"The Conversion of Saint Paul.
Oil on copper.
Signed with an anagram in the lower right corner.
Work examined several decades ago by Dr. Aída Padrón Mérida.
Measurements: 21 x 31 cm; 59 x 69 cm (frame).
David Teniers II constructs an ample and expressive scenography to present the theme of the conversion of St. Paul on his way from Jerusalem to Damascus. The prolific artist depicts the precise moment when the divine light blinds Paul who, in the centre of the composition, falls from his horse, while his soldiers run in panic in different directions, stunned by an apparently inexplicable event. In favour of the prominence of the heavens, Teniers renounces any architectural reference. A beam of magical, diffused light filters through the clouds, revealing the intangible presence of God, transforming Paul's miraculous conversion to Christianity into a rich and varied display of horses in action and daring twists and turns. Teniers endows the work with a sense of narrative and symbolism: although the crescent moon on one of the banners leads one to interpret the scene as a confrontation between Turks and Romans, it is probably really intended to evoke pagan Rome, considered as the infidel people. The dynamic, moving conception of the subject is in keeping with the fantasy of the period and the popularising power of Baroque engravers such as Antonio Tempesta. Teniers's training as a genre painter is demonstrated by the small dog running around in the foreground, a common device in his domestic scenes and peasant scenes.
David Teniers II, son of David Teniers I, remained faithful to his father's style in his youth but soon specialised in genre painting. In 1638 he joined the Guild of Saint Luke, of which he was later to become dean. Among his patrons were the Bishop of Ghent and Archduke Leopold William. Teniers was also the artistic director of the archduke's collection and was responsible for the conservation of the paintings and for choosing and acquiring new works for what was one of the most important collections of 17th-century painting. In 1651 he was appointed court painter to Archduke John Joseph of Austria and moved to Brussels. Despite this, he continued to work for other patrons, including the greatest art connoisseurs of the 17th century: Christina of Sweden, William II of Orange and Philip IV. Works by Teniers are to 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, and the Fine Arts Museums in Brussels, Vienna, Antwerp and Dresden.
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*DAVID TENIERS II THE YOUNG (Antwerp, 1610 - Brussels, 1690).
"The Conversion of Saint Paul.
Oil on copper.
Signed with an anagram in the lower right corner.
Work examined several decades ago by Dr. Aída Padrón Mérida.
Measurements: 21 x 31 cm; 59 x 69 cm (frame).
David Teniers II constructs an ample and expressive scenography to present the theme of the conversion of St. Paul on his way from Jerusalem to Damascus. The prolific artist depicts the precise moment when the divine light blinds Paul who, in the centre of the composition, falls from his horse, while his soldiers run in panic in different directions, stunned by an apparently inexplicable event. In favour of the prominence of the heavens, Teniers renounces any architectural reference. A beam of magical, diffused light filters through the clouds, revealing the intangible presence of God, transforming Paul's miraculous conversion to Christianity into a rich and varied display of horses in action and daring twists and turns. Teniers endows the work with a sense of narrative and symbolism: although the crescent moon on one of the banners leads one to interpret the scene as a confrontation between Turks and Romans, it is probably really intended to evoke pagan Rome, considered as the infidel people. The dynamic, moving conception of the subject is in keeping with the fantasy of the period and the popularising power of Baroque engravers such as Antonio Tempesta. Teniers's training as a genre painter is demonstrated by the small dog running around in the foreground, a common device in his domestic scenes and peasant scenes.
David Teniers II, son of David Teniers I, remained faithful to his father's style in his youth but soon specialised in genre painting. In 1638 he joined the Guild of Saint Luke, of which he was later to become dean. Among his patrons were the Bishop of Ghent and Archduke Leopold William. Teniers was also the artistic director of the archduke's collection and was responsible for the conservation of the paintings and for choosing and acquiring new works for what was one of the most important collections of 17th-century painting. In 1651 he was appointed court painter to Archduke John Joseph of Austria and moved to Brussels. Despite this, he continued to work for other patrons, including the greatest art connoisseurs of the 17th century: Christina of Sweden, William II of Orange and Philip IV. Works by Teniers are to 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, and the Fine Arts Museums in Brussels, Vienna, Antwerp and Dresden.
"The Conversion of Saint Paul.
Oil on copper.
Signed with an anagram in the lower right corner.
Work examined several decades ago by Dr. Aída Padrón Mérida.
Measurements: 21 x 31 cm; 59 x 69 cm (frame).
David Teniers II constructs an ample and expressive scenography to present the theme of the conversion of St. Paul on his way from Jerusalem to Damascus. The prolific artist depicts the precise moment when the divine light blinds Paul who, in the centre of the composition, falls from his horse, while his soldiers run in panic in different directions, stunned by an apparently inexplicable event. In favour of the prominence of the heavens, Teniers renounces any architectural reference. A beam of magical, diffused light filters through the clouds, revealing the intangible presence of God, transforming Paul's miraculous conversion to Christianity into a rich and varied display of horses in action and daring twists and turns. Teniers endows the work with a sense of narrative and symbolism: although the crescent moon on one of the banners leads one to interpret the scene as a confrontation between Turks and Romans, it is probably really intended to evoke pagan Rome, considered as the infidel people. The dynamic, moving conception of the subject is in keeping with the fantasy of the period and the popularising power of Baroque engravers such as Antonio Tempesta. Teniers's training as a genre painter is demonstrated by the small dog running around in the foreground, a common device in his domestic scenes and peasant scenes.
David Teniers II, son of David Teniers I, remained faithful to his father's style in his youth but soon specialised in genre painting. In 1638 he joined the Guild of Saint Luke, of which he was later to become dean. Among his patrons were the Bishop of Ghent and Archduke Leopold William. Teniers was also the artistic director of the archduke's collection and was responsible for the conservation of the paintings and for choosing and acquiring new works for what was one of the most important collections of 17th-century painting. In 1651 he was appointed court painter to Archduke John Joseph of Austria and moved to Brussels. Despite this, he continued to work for other patrons, including the greatest art connoisseurs of the 17th century: Christina of Sweden, William II of Orange and Philip IV. Works by Teniers are to 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, and the Fine Arts Museums in Brussels, Vienna, Antwerp and Dresden.
9th November - Old Masters
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