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Circle of DAVID TENIERS "The Young Man", (Antwerp, ca. 1610 - Brussels, 1690), 17th century."
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Description
Circle of DAVID TENIERS "The Young Man", (Antwerp, ca. 1610 - Brussels, 1690), 17th century.
"Tavern scene".
Oil on canvas.
Size: 32 x 40 cm; 44 x 54 cm (frame).
Pending export certificate.
The work will be available approximately 15-20 days after payment.
This genre painting shows in the foreground an old man eager to court what can most probably be identified as the owner of the tavern, bending down on his knees to clean a large copper bucket. To his left, a wheelbarrow full of vegetables is shown, almost an exercise in skill for the painter as he also wanted to try his hand at still life. In the background are three male figures intent on drinking, skilfully illuminated by rare flashes of light, as well as the figure at the upper left edge of the canvas leaning out of a small window.
David Teniers specialised in genre painting, which is 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.
"Tavern scene".
Oil on canvas.
Size: 32 x 40 cm; 44 x 54 cm (frame).
Pending export certificate.
The work will be available approximately 15-20 days after payment.
This genre painting shows in the foreground an old man eager to court what can most probably be identified as the owner of the tavern, bending down on his knees to clean a large copper bucket. To his left, a wheelbarrow full of vegetables is shown, almost an exercise in skill for the painter as he also wanted to try his hand at still life. In the background are three male figures intent on drinking, skilfully illuminated by rare flashes of light, as well as the figure at the upper left edge of the canvas leaning out of a small window.
David Teniers specialised in genre painting, which is 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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Circle of DAVID TENIERS "The Young Man", (Antwerp, ca. 1610 - Brussels, 1690), 17th century.
"Tavern scene".
Oil on canvas.
Size: 32 x 40 cm; 44 x 54 cm (frame).
Pending export certificate.
The work will be available approximately 15-20 days after payment.
This genre painting shows in the foreground an old man eager to court what can most probably be identified as the owner of the tavern, bending down on his knees to clean a large copper bucket. To his left, a wheelbarrow full of vegetables is shown, almost an exercise in skill for the painter as he also wanted to try his hand at still life. In the background are three male figures intent on drinking, skilfully illuminated by rare flashes of light, as well as the figure at the upper left edge of the canvas leaning out of a small window.
David Teniers specialised in genre painting, which is 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.
"Tavern scene".
Oil on canvas.
Size: 32 x 40 cm; 44 x 54 cm (frame).
Pending export certificate.
The work will be available approximately 15-20 days after payment.
This genre painting shows in the foreground an old man eager to court what can most probably be identified as the owner of the tavern, bending down on his knees to clean a large copper bucket. To his left, a wheelbarrow full of vegetables is shown, almost an exercise in skill for the painter as he also wanted to try his hand at still life. In the background are three male figures intent on drinking, skilfully illuminated by rare flashes of light, as well as the figure at the upper left edge of the canvas leaning out of a small window.
David Teniers specialised in genre painting, which is 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.
22nd November - Old Masters
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Calle Velázquez 7, Madrid
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Barcelona
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