471 (St Magdalen in a landscape Helen Fourment c. Rubens and his legacy : Van Dyck to Cézanne Royal Academy of Arts, London (England), -, p.Sensatie en sensualiteit : Rubens en zijn erfenis Paleis voor Schone Kunsten, Brussel Bozar, Brussels, -, p.Peter Paul Rubens Graphische Sammlung Albertina, Vienna, -, p.Rubens Palais des Beaux-Arts de Lille, Lille (France), -, p.Shawe-Taylor), Houston/Louisville 1999–2000 Rembrandt to Gainsborough : masterpieces from Dulwich Picture Gallery Museum of Fine Arts Houston, Houston (Texas), -, p.Flemish art, 1300-1700 Royal Academy of Arts, London (England), -, p.Exhibition of works by Holbein & other masters of the 16th and 17th centuries Royal Academy of Arts, London (England), -, p.Some pictures from the Dulwich Gallery National Gallery, London (England), 1947 - 1948, not paginated, no.We will not expand on the difficulty to come across real pictures by that master, but we offer this as one of his most agreeable pictures for a collector. This picture, rare and superior, is from the hand of Rubens in his greatest strength. On her breast is a light veil, & she holds also in her left arm a part of her violet mantle which falls behind her the expression that one remarks in her face, the general action of the figure & an empty flask placed in the front, suggest that this is Hagar in the wilderness. ![]() She is wearing a jacket of grey satin, & a skirt of green satin. ![]() Rubens a woman seated with her arms extended & her hands clasped, & placed on her left knee she is seen from three quarters, & she is looking at the spectator. Nous ne nous étendrons pas sur la difficulté de rencontrer de vrais Tableaux de ce Maître, nous offrons celui-ci comme un de ses plus agréable pour les Cabinets. Ce Tableau, rare & supérieur, est sorti du pinceau de Rubens dans sa plus grande force. Elle a le sein couvert d'un voile léger, & tient envore dans son bras gauche une portion de son manteau violet qui tombe derriere elle l'expression que l’on remarque dans la tête, l’action générale de la figure & une bouteille vuidée placée sur le devant, feroient croire que c’est Agar dans le désert. Elle est vêtue d'une juste-au-corps de satin gris, & d'une jupe de satin verd. Rubens Une femme assise les bras allongés & les mains jointes, & posées sur le genou gauche elle est vue de trois quarts, & le regard tourné vers le spectateur. Lugt 3386, lot 13 bt Nicolas Lerouge for 4999 livres 19 No records of previous treatments exist for this painting (Sophia Plender). The hill is very thinly painted and slightly abraded. Three fairly small cracks can be seen at the right panel edge in the hill and there is some raised craquelure and old paint loss in the nearby sky, towards the top right corner. There is a 20cm scratch down the back of Hagar’s dress with brittle blisters at the top, and a diagonal scratch below her proper right shin the old restoration of these scratches now appears slightly dark. There are remnants of two figures in the sky (an angel) and at the bottom of the tree to the left (a child), visible in ordinary light and under infrared light (see above). Dendrochronology indicates that the panel derived from trees felled after 1620. The edges have been modified, indicating that the panel has been cut down on all sides. ![]() The back of the panel is cradled, with nine horizontal fixed bars and nine slats, which no longer move. Three-member horizontally joined Netherlandish oak panel with a gentle convex warp.
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