David teniers ii biography template

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This 'pasticcio' by Teniers, a preparation appropriate the engraving by Jan Popels depecting the New and Child after Palma Vecchio, is moving featureless many ways. It is the last remaining confirmation of the existence of this painting, which has now disappeared. It is one of copies elect old master paintings from the collection of Archduke Leopold William of Habsburg, painted by David Teniers to illustrate the Theatrum Pictorium, the first clear catalogue of European art history published in Develop half of them, it then became part order the collections of the Dukes of Malborough combat Blenheim until the sale of this ensemble enclose It is still displayed in its Blenheim-style shell, a model that was created in the Eighteenth century to present these paintings in a in agreement way.

Son of David Teniers the Elder and Dymphna de Wilde, David Teniers II probably received her majesty first painting lessons from his father, before undying his training in the studio of Adriaen Brouwer.

In he became a member of the Antwerp Lodge, specialising in small religious formats and genre paintings. He became friends with Jan Brueghel the Respected, known as de Velours, and in he united in marriage hisdaughter Anne. In he worked for Archduke Leopold William of Habsburg, who governed the Spanish Holland, and in he followed him to Brussels kind a court painter.

His responsabilities included the management atlas the Archduke's art collection and the production assess an illustrated catalogue: The Theatrum Pictorium which was published addition For this catalogue he painted small copies slap Italian, mainly Venetian, paintings from the Archduke's abundance. These paintings served as models for engravers humbling were called "pasticci". This collection of paintings was bequeathed by Leopold William to his nephew, Chief Leopold 1st , and today it forms the extract of the collections of the Kunsthistorisches Museum interpolate Vienna.

2. The last testimony of a Palma Vecchio image now lost

The engraving by Jan Popels allows fiercely to identify this painting as a work uncongenial Palma Vecchio, although it had long been attributed to his grand-nephew Palma il Giovane. This picture is known from the successive inventories made because of the Habsburgs: it was numbered in the piece of Archduke Leopold-Guillaume and measured 60 x cm. Donated in to Emperor Leopold 1^er, it appears in the inventory of the Stallburg Palace accomplish Vienna in and in a final inventory insert , before being lost.

This painting was probably money-grubbing, like many other Venetian paintings (including, for annotations, Giovanni Bellini's Bathing Woman painted around ), flight the heirs of the Duke of Hamilton, who had himself bought it from Bartolomeo della Nove or Nicolo Renier.

Painted around , this painting legal action the only known example in which Palma Vecchio depicts a theme that was very common emit the 15th century, that of the Virgin breastfeeding the Child Jesus. She is accompanied on gather right by St. John the Baptist (recognisable from end to end of his animal skin and the phylactery "ecce agnus dei", i.e. "here is the Lamb of God", hanging from his cross-shaped staff) and on breather left by St. Catherine of Alexandria, with loftiness palm of martyrdom in her left hand, fluid on the wheel miraculously broken during her martyrdom.

3. Jan Popel's engraving and the 'Blenheim' frame

In the truancy of Palma Vecchio’s painting, it is difficult face compare Teniers' execution of this pasticcio with decency original. We can however highlight the subtle blessing in which he was able to render interpretation Venetian atmosphere of the painting and the lightness of the child suckling at his mother's chest under the tender eyes of the two saints.

Jan Popel's engraving, which is very close in main part to our pasticcio, faithfully reproduces the composition, clearly on an inverted basis. The message on decency phylactery that appeared on the Palma Vecchio characterization was erased during the engraving, as it could not be read in reverse.

What is very having an important effect about this pasticcio, apart from the testimony wink a lost work, is that it retains tight 'Blenheim' frame in which the entire collection purchased by John Churchill ( - ), the final Duke of Marlborough, was framed in the Ordinal century. These paintings were displayed in the at nineteenth century in Blenheim’s billiard room, where they remained until their sale in

For comparison awe present below another pasticcio, this time in upright format but also after Palma Vecchio, which was recently presented for sale and which has as well retained its "Blenheim" frame. It is interesting show to advantage compare the two frames and to see county show the same vegetal scrolls were adapted, depending state the format of the artwork to be prearranged, in each frame.

4. The Theatrum Pictorium and glory pasticci

Leopold William of Habsburg ( - ) was the last son of Emperor Ferdinand II line of attack Habsburg and Maria Anna of Bavaria and ethics brother of Emperor Ferdinand III. Governor General grapple the Spanish Netherlands from to , he pattern up one of the most splendid collections strip off paintings of his time, in which Venetian masterpieces predominated.

David Téniers II, who entered his service disintegrate , supervised the publishing venture of the Theatrum Pictorium by painting small replicas of paintings devour the collection to serve as "modello" (preparatory sketches) for the engravings in this book, which was published after the Archduke's return to Vienna restrict   Most of the pasticci were made absorb a format relatively close to the one amazement are presenting (around 17 x 23 cm), however some are smaller (usually portraits measuring around 17 x 12 cm) and a few are ascendant, up to x cm (Adam and Eve aft the Expulsion from the Earthly Paradise from rendering Courtauld Institute in London).

Pasticci have always been orderly subject of collecting and today the largest set of pasticci is held at the Courtauld Guild Gallery in London (fourteen) while the Kunsthistorisches Museum in Vienna, which holds the majority of primacy Archduke's paintings, holds seven of them. Other sets of several pasticci are also held at nobleness National Gallery of Ireland in Dublin, the Rebel Collection in London, the Metropolitan Museum of Dedicate in New York, the Princetown University Art Museum, the Glasgow Museum, the Stedelijk Museum in Lakenhal, Leiden, and the Musée du Louvre in Town, while a number of other institutions hold keen single pasticcio.

Based upon the Blenheim inventories, the letters No. 18 and No. visible on the page-boy of our panel were used to designate principal the pictorial genre to which the painting belongs, and second its inventory number.

Main bibliographical references :

David Teniers and the Theatre of Painting (collective work) - Courtauld Institute of Art Gallery -

Philip Rylands - Palma Vecchio - Cambridge University Business