Vaše verze internetového prohlížeče není aktuální!

Abyste byli schopni využívat plně naše internetové stránky, měli byste si nainstalovat aktuální verzi prohlížeče. Seznam doporučených prohlížečů naleznete zde.



Čís. položky 572 #


Pieter Lastman (Amsterdam 1583–1633)


Pieter Lastman (Amsterdam 1583–1633) - Obrazy starých mistr?

The Good Samaritan, oil on canvas, 102 x 128 cm, framed

Provenance:
probably identical with the “Samaritaen Lastman” mentioned in Pieter Lastman’s inventory from 7 July 1632;
probably sale, Harry Phillips, London, 29/30 January 1806, lot 84 (P. Lastman, ‘The Good Samaritan’);
Belgian private collection (since the early 20th century)

Pieter Lastman was one of the most important Dutch history painters of his generation. Under the impact of his several years spent in Italy and his encounter with Adam Elsheimer and Peter Paul Rubens in Rome, he developed a pictorial language that decisively influenced Dutch 17th Century painting, not least Rembrandt, his most famous pupil.

The present painting illustrates the parable of the Good Samaritan, related in the Gospel of Luke, which Jesus told to a scholar in order to illustrate an example of charity. The parable is about a traveller who was attacked, robbed, and left behind heavily injured. A priest and a Levite passed the man without showing mercy. Yet the Samaritan attended to the injured traveller and brought him to an inn (Luke 10:30–35). The picture is dominated by the injured man’s brightly lit naked body, to which the Samaritan bends down. On the left side, his horse is seen standing in the shadow, while a landscape opens up to the right, with two figures rerecognizable in the far distance (the priest) and further to the front (the Levite).

This painting, which was unknown until recently, represents an important addition to Lastman’s oeuvre. It is probably identical with a painting of this subject matter that was in Lastman’s house in Amsterdam in 1632, one year before his death. As no other painting of this theme by Lastman is known, this newly rediscovered picture can very likely be identified as this work. The Good Samaritan is painted on canvas, a support Lastman only used for large compositions (such as The Battle of the Milvian Bridge, Kunsthalle, Bremen, cf. C. T. Seifert, Pieter Lastman, Studien zu Leben und Werk, mit einem kritischen Verzeichnis der Werke mit Themen aus der antiken Mythologie und Historie, Petersberg 2011, p. 174, fig. 184). The large size of the figures and their placement close to the lower margin are unusual.

The characteristic treatment of the figures and their garments in the Oriental style, as well as the landscape and the cabbage-like repoussoir on the right, recur in numerous works by Lastman (such as Abraham and the Three Angels, 1616, Gemäldegalerie Alte Meister, Kassel). Moreover, the same horse, its harness only slightly modified, can be found in Lastman’s The Return of Jephthah from Battle (c. 1614–17, Museum Briner und Kern, Winterthur). In terms of the composition, the present work is closely related to other compositions in which Lastman depicted scenes with only two or three figures, such as Abraham Dismissing Hagar (1612, Kunsthalle, Hamburg) or Ruth and Naemi (1614, Niederländisches Landesmuseum, Hanover).

It seems plausible to date the Good Samaritan to c. 1612–15. The subject rarely occurs in Dutch painting, but has a tradition in 16th Century Bible illustrations and printmaking. Lastman’s younger brother Claes (1586–1625) made a copper engraving (Hollstein 2) based on the parable that dates from 1610–15 (see Seifert, op. cit., p. 59, fig. 45). For this composition, Pieter Lastman referred to a copper engraving edited by Philips Galle in Antwerp in 1612 after an invention by Johannes Stradanus (Jan van der Straet) (New Hollstein 47, fig. 1). The group of figures – compare how they relate to each other through the pose of the Samaritan and the position of the victim’s legs – and the horse, which is slightly turned to the right (if slightly shifted to the left) clearly suggest that Lastman had been familiar with the print. Furthermore, Lastman also seems to have relied on a copper engraving by Cornelis Cort (New Hollstein 190) of Titian’s Tityus. The dramatic position of the injured man, his muscular body, and his bent left arm with its clenched fist (in Titian’s engraving it is the right arm) might have been inspired by Titian. The reference to prints and to compositions by Titian can frequently be observed in Lastman’s works. (Dr Christian Tico Seifert).

We are grateful to Dr Christian Seifert for cataloguing this painting.

Expert: Dr. Alexander Strasoldo Dr. Alexander Strasoldo
+43 1 515 60 312

oldmasters@dorotheum.com

17.10.2012 - 18:00

Odhadní cena:
EUR 100.000,- do EUR 150.000,-

Pieter Lastman (Amsterdam 1583–1633)


The Good Samaritan, oil on canvas, 102 x 128 cm, framed

Provenance:
probably identical with the “Samaritaen Lastman” mentioned in Pieter Lastman’s inventory from 7 July 1632;
probably sale, Harry Phillips, London, 29/30 January 1806, lot 84 (P. Lastman, ‘The Good Samaritan’);
Belgian private collection (since the early 20th century)

Pieter Lastman was one of the most important Dutch history painters of his generation. Under the impact of his several years spent in Italy and his encounter with Adam Elsheimer and Peter Paul Rubens in Rome, he developed a pictorial language that decisively influenced Dutch 17th Century painting, not least Rembrandt, his most famous pupil.

The present painting illustrates the parable of the Good Samaritan, related in the Gospel of Luke, which Jesus told to a scholar in order to illustrate an example of charity. The parable is about a traveller who was attacked, robbed, and left behind heavily injured. A priest and a Levite passed the man without showing mercy. Yet the Samaritan attended to the injured traveller and brought him to an inn (Luke 10:30–35). The picture is dominated by the injured man’s brightly lit naked body, to which the Samaritan bends down. On the left side, his horse is seen standing in the shadow, while a landscape opens up to the right, with two figures rerecognizable in the far distance (the priest) and further to the front (the Levite).

This painting, which was unknown until recently, represents an important addition to Lastman’s oeuvre. It is probably identical with a painting of this subject matter that was in Lastman’s house in Amsterdam in 1632, one year before his death. As no other painting of this theme by Lastman is known, this newly rediscovered picture can very likely be identified as this work. The Good Samaritan is painted on canvas, a support Lastman only used for large compositions (such as The Battle of the Milvian Bridge, Kunsthalle, Bremen, cf. C. T. Seifert, Pieter Lastman, Studien zu Leben und Werk, mit einem kritischen Verzeichnis der Werke mit Themen aus der antiken Mythologie und Historie, Petersberg 2011, p. 174, fig. 184). The large size of the figures and their placement close to the lower margin are unusual.

The characteristic treatment of the figures and their garments in the Oriental style, as well as the landscape and the cabbage-like repoussoir on the right, recur in numerous works by Lastman (such as Abraham and the Three Angels, 1616, Gemäldegalerie Alte Meister, Kassel). Moreover, the same horse, its harness only slightly modified, can be found in Lastman’s The Return of Jephthah from Battle (c. 1614–17, Museum Briner und Kern, Winterthur). In terms of the composition, the present work is closely related to other compositions in which Lastman depicted scenes with only two or three figures, such as Abraham Dismissing Hagar (1612, Kunsthalle, Hamburg) or Ruth and Naemi (1614, Niederländisches Landesmuseum, Hanover).

It seems plausible to date the Good Samaritan to c. 1612–15. The subject rarely occurs in Dutch painting, but has a tradition in 16th Century Bible illustrations and printmaking. Lastman’s younger brother Claes (1586–1625) made a copper engraving (Hollstein 2) based on the parable that dates from 1610–15 (see Seifert, op. cit., p. 59, fig. 45). For this composition, Pieter Lastman referred to a copper engraving edited by Philips Galle in Antwerp in 1612 after an invention by Johannes Stradanus (Jan van der Straet) (New Hollstein 47, fig. 1). The group of figures – compare how they relate to each other through the pose of the Samaritan and the position of the victim’s legs – and the horse, which is slightly turned to the right (if slightly shifted to the left) clearly suggest that Lastman had been familiar with the print. Furthermore, Lastman also seems to have relied on a copper engraving by Cornelis Cort (New Hollstein 190) of Titian’s Tityus. The dramatic position of the injured man, his muscular body, and his bent left arm with its clenched fist (in Titian’s engraving it is the right arm) might have been inspired by Titian. The reference to prints and to compositions by Titian can frequently be observed in Lastman’s works. (Dr Christian Tico Seifert).

We are grateful to Dr Christian Seifert for cataloguing this painting.

Expert: Dr. Alexander Strasoldo Dr. Alexander Strasoldo
+43 1 515 60 312

oldmasters@dorotheum.com


Horká linka kupujících Po-Pá: 10.00 - 17.00
old.masters@dorotheum.at

+43 1 515 60 403
Aukce: Obrazy starých mistr?
Datum: 17.10.2012 - 18:00
Místo konání aukce: Wien | Palais Dorotheum
Prohlídka: 06.10. - 17.10.2012