2018
Norditalienischer Meister spätes 16. JahrhundertAllegorie des Überflusses als Alma Mater, m
Beschreibung
Norditalienischer Meister spätes 16. Jahrhundert
Allegorie des Überflusses als Alma Mater, mit ei
Öl auf Leinwand. 130 x 192 cm.
Provenienz
Bedeutende Privatsammlung, Toskana
Die raffinierte allegorische Szene entfaltet sich auf dieser großen Leinwand vor einer kunstvollen und üppigen Landschaft.
An der Personifizierung der Abundantia, einer jungen Frau mit dem Füllhornattribut zu ihrer Linken, nehmen vier Putten teil, die die vier Elemente Erde, Wasser, Luft und Feuer verkörpern. Sie ist umgeben von Stillleben-Elementen: Flora, Fauna, darunter exotische Tiere und allegorische Details - der Hund und die Henne, die ihren Nachwuchs füttern - bezeichnen die Fülle als Alma Mater. Die Stillleben-Details haben in ihrer nahezu enzyklopädischen Form fast die gleiche Bedeutung wie die Hauptfigur in der Ausgewogenheit der Komposition. Es ist möglich, dass zwei verschiedene Künstler das vorliegende Stück gemeinschaftlich gemalt haben.
Die Darstellung ist ein faszinierendes Beispiel für die Begegnung zwischen der italienischen und der nordischen Schule, ein Dialog, der seit dem 15. Jahrhundert begonnen hat und durch die Verbreitung von Drucken auf beiden Seiten der Alpen im 16. Jahrhundert unterstützt wurde.Die europäische Kulturelite des 16. Jahrhunderts war eher kosmopolitisch und Künstler reisten durch verschiedene Länder, Höfe und Städte, um verschiedene kulturelle Bezüge zu verstehen und einen neuen Stil zu entwickeln: diese Vermischung lässt Zuschreibungen teils nur schwierig bestimmen. Die italienische Halbinsel war sicherlich der Anziehungspunkt der gesamten Künstlergemeinschaft: ab dem frühen 16. Jahrhundert faszinierten Florenz, Rom, Genua, Mailand und vor allem Venedig - eine freie Republik, eines der wichtigsten europäischen Druckzentren - viele nordische Künstler, die auf der Halbinsel Lob und Ruhm ernteten.
Bisher war es nicht möglich, den Künstler des Werkes zu identifizieren, welches zuvor bereits der Reihe von Malern um Rudolf II. von Prag zugewiesen wurde. Stil und Komposition erinnern jedoch sehr stark an die großen allegorischen Gemälde, die in Italien von den Künstlern im Gefolge von Cosimo II. und vor allem von Künstlern des Nordens, wie Martin de Vos, Frans Floris oder Lambert Sustris, die in Venedig im Rahmen des größten Kunstunternehmens der damaligen Zeit - Tizians Werkstatt - tätig waren, konzipiert wurden.
Wir danken Dr. Alessandro Rossi für seine freundliche Unterstützung bei der Katalogisierung dieses Gemäldes.
North Italian School late 16th century
An Allegory of Abundance as Alma Mater, with a depiction o
Oil on canvas. 130 x 192 cm.
Provenance
A distinguished private collection, Tuscany.
The sophisticated allegorical scene unfolds across this large canvas within a detailed and verdant landscape. The personification of Abundance, a young woman with the attribute of the cornucopia at her left, is attended by putti personifying the four elements - earth, water, air, and fire. She is surrounded by still life elements: Flora, fauna, exotic animals and allegorical details - the dog and hen feeding their young refer to the idea of Abundance as Alma Mater. The still life details, in their near encyclopaedic volume, play almost as important a role as the central figure in balancing the composition, and it is feasible that two artists collaborated in the completion of the work.
The depiction is a fascinating example of an encounter between the Italian and northern schools, a dialogue that began in the fifteenth century and was encouraged by the dissemination of prints across both sides of the Alps during the sixteenth. Sixteenth century European cultural elites were quite cosmopolitan and artists travelled between different countries, courts and cities, competing to assimilate different cultural references and develop a new style. This mixture of influences makes the process of attributing works somewhat complicated.
The Italian peninsula held a strong attraction for the entire artistic community. From the early sixteenth century onwards, Florence, Rome, Genoa, Milan and especially Venice - a free Republic and one of the European continent's main printing centres - fascinated many northern artists who settled in the Peninsula to gain praise and fame.
So far it has not been possible to identify the author of this work, which was previously assigned to the circle of painters around Rudolf II of Prague. However, the style and composition closely recall the large allegorical paintings composed in Italy by the artists in the entourage of Cosimo II, and especially the northern artists such as Martin de Vos, Frans Floris or Lambert Sustris who were active in Venice within the largest artistic enterprise of the day: Titian´s workshop.
We are grateful to Dr Alessandro Rossi for his kind assistance in cataloguing this lot.
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Norditalienischer Meister spätes 16. Jahrhundert
Allegorie des Überflusses als Alma Mater, mit ei
Öl auf Leinwand. 130 x 192 cm.
Provenienz
Bedeutende Privatsammlung, Toskana
Die raffinierte allegorische Szene entfaltet sich auf dieser großen Leinwand vor einer kunstvollen und üppigen Landschaft.
An der Personifizierung der Abundantia, einer jungen Frau mit dem Füllhornattribut zu ihrer Linken, nehmen vier Putten teil, die die vier Elemente Erde, Wasser, Luft und Feuer verkörpern. Sie ist umgeben von Stillleben-Elementen: Flora, Fauna, darunter exotische Tiere und allegorische Details - der Hund und die Henne, die ihren Nachwuchs füttern - bezeichnen die Fülle als Alma Mater. Die Stillleben-Details haben in ihrer nahezu enzyklopädischen Form fast die gleiche Bedeutung wie die Hauptfigur in der Ausgewogenheit der Komposition. Es ist möglich, dass zwei verschiedene Künstler das vorliegende Stück gemeinschaftlich gemalt haben.
Die Darstellung ist ein faszinierendes Beispiel für die Begegnung zwischen der italienischen und der nordischen Schule, ein Dialog, der seit dem 15. Jahrhundert begonnen hat und durch die Verbreitung von Drucken auf beiden Seiten der Alpen im 16. Jahrhundert unterstützt wurde.Die europäische Kulturelite des 16. Jahrhunderts war eher kosmopolitisch und Künstler reisten durch verschiedene Länder, Höfe und Städte, um verschiedene kulturelle Bezüge zu verstehen und einen neuen Stil zu entwickeln: diese Vermischung lässt Zuschreibungen teils nur schwierig bestimmen. Die italienische Halbinsel war sicherlich der Anziehungspunkt der gesamten Künstlergemeinschaft: ab dem frühen 16. Jahrhundert faszinierten Florenz, Rom, Genua, Mailand und vor allem Venedig - eine freie Republik, eines der wichtigsten europäischen Druckzentren - viele nordische Künstler, die auf der Halbinsel Lob und Ruhm ernteten.
Bisher war es nicht möglich, den Künstler des Werkes zu identifizieren, welches zuvor bereits der Reihe von Malern um Rudolf II. von Prag zugewiesen wurde. Stil und Komposition erinnern jedoch sehr stark an die großen allegorischen Gemälde, die in Italien von den Künstlern im Gefolge von Cosimo II. und vor allem von Künstlern des Nordens, wie Martin de Vos, Frans Floris oder Lambert Sustris, die in Venedig im Rahmen des größten Kunstunternehmens der damaligen Zeit - Tizians Werkstatt - tätig waren, konzipiert wurden.
Wir danken Dr. Alessandro Rossi für seine freundliche Unterstützung bei der Katalogisierung dieses Gemäldes.
North Italian School late 16th century
An Allegory of Abundance as Alma Mater, with a depiction o
Oil on canvas. 130 x 192 cm.
Provenance
A distinguished private collection, Tuscany.
The sophisticated allegorical scene unfolds across this large canvas within a detailed and verdant landscape. The personification of Abundance, a young woman with the attribute of the cornucopia at her left, is attended by putti personifying the four elements - earth, water, air, and fire. She is surrounded by still life elements: Flora, fauna, exotic animals and allegorical details - the dog and hen feeding their young refer to the idea of Abundance as Alma Mater. The still life details, in their near encyclopaedic volume, play almost as important a role as the central figure in balancing the composition, and it is feasible that two artists collaborated in the completion of the work.
The depiction is a fascinating example of an encounter between the Italian and northern schools, a dialogue that began in the fifteenth century and was encouraged by the dissemination of prints across both sides of the Alps during the sixteenth. Sixteenth century European cultural elites were quite cosmopolitan and artists travelled between different countries, courts and cities, competing to assimilate different cultural references and develop a new style. This mixture of influences makes the process of attributing works somewhat complicated.
The Italian peninsula held a strong attraction for the entire artistic community. From the early sixteenth century onwards, Florence, Rome, Genoa, Milan and especially Venice - a free Republic and one of the European continent's main printing centres - fascinated many northern artists who settled in the Peninsula to gain praise and fame.
So far it has not been possible to identify the author of this work, which was previously assigned to the circle of painters around Rudolf II of Prague. However, the style and composition closely recall the large allegorical paintings composed in Italy by the artists in the entourage of Cosimo II, and especially the northern artists such as Martin de Vos, Frans Floris or Lambert Sustris who were active in Venice within the largest artistic enterprise of the day: Titian´s workshop.
We are grateful to Dr Alessandro Rossi for his kind assistance in cataloguing this lot.
Alte Kunst / Old Masters
Auktionsdatum
Lose: 2000 - 2155
Ort der Versteigerung
Neumarkt 3
Köln
50667
Germany
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AGB
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Takuro Ito, Kilian Jay von Seldeneck, auctioneers
