4
QUINTEN MASSYSBetende Maria
Beschreibung
QUINTEN MASSYS
Betende Maria
Öl auf Holz. 44 x 33,5 cm.
Provenienz
Kunsthandel P. De Boer, Amsterdam. – 547. Lempertz-Auktion, Köln, 20.-22.11.1975, Lot 117. – H. Becker, Dortmund. – Hans M. Cramer, Den Haag, 1977.
Literatur
Andrée de Bosque: Quentin Metsys, Brüssel 1975, S. 252-3, Nr. 316, Abb. S. 251 und S. 390. – Hans M. Cramer, Addendum 3, Den Haag 1977, Nr. 107, mit Abb. – Larry Silver: The Paintings of Quinten Massys with Catalogue Raisonné, Oxford 1984, S. 230, unter Nr. 49. – Petra Müller, in: Ekkehard Mai (Hg.): Das Kabinett des Sammlers, Köln 1993, S. 28-30, Nr. 12, mit Abb.
Vor einem dunklen Hintergrund zeigt die kleine Tafel das Brustbild Mariens mit gefalteten Händen. Meisterlich ausgeführt sind das zarte Inkarnat ihres Gesichtes und der Hände, das Weiß des um den Kopf geschlungenen und im Nacken gebundenen Tuchs sowie das strahlende Blau Ihres Mantels mit goldener Stickerei am Halsausschnitt und den Ärmeln. Die Tafel stellt sich als ein hervorragendes Werk der Übergangszeit zwischen spätgotischer und Renaissancekunst in den Niederlanden im frühen 16. Jahrhundert dar.
In ihrer Monografie über Quinten Massys hat Andrée de Bosque 1975 den formalen und ikonographischen Zusammenhang des Bildes mit einem Flügel eines Diptychons dieses Malers im Museo Nacional del Prado erkannt. Der gleiche Bildausschnitt und eine nahezu identische Darstellung Mariens ist dort nur seitenverkehrt dargestellt. Daraus ist zu schließen, dass es auch für das vorliegende Bild einen „Segnenden Christus“ als Gegenstück gegeben haben wird. Ein weiteres Bilderpaar mit dem gleichen Motiv von Quinten Massys, das aber früher zu datieren ist, befindet sich im Königlichen Museum von Antwerpen.
De Bosque hat unser Bild wohl im Original gesehen. Sie beschreibt es in ihrem Buch ausführlich und fasst ihr Urteil so zusammen: „La Vierge de la collection allemande est d´un qualité superieure à celle du Prado et se rapproche, bien qu´elle soit d´un style archaisant, de la Vierge du Louvre de 1529“. Während sie bei dem Madrider Diptychon - ursprünglich aus dem persönlichen Besitz von König Philipp II. von Spanien stammend - auch die Hand des Schülers und Sohnes Jan Massys zu erkennen glaubt, sieht sie unser Bild als ein eigenhändiges Werk des Vaters. Diesem Urteil schlossen sich Ekkehard Mai und seine Mitarbeiterin Petra Müller 1993 (op. cit.) an und übernahmen die Zuschreibung an Quinten Massys.
Larry Silver ging in seiner 1984 erschienenen Monographie über Quinten Massys hingegen auf unser Bild zunächst nicht näher ein und erwähnt es lediglich im Zusammenhang mit dem Madrider Diptychon - für ihn ein Werk Quintens - als eine Kopie. Nach einer aktuellen hochauflösenden Photographie bestätigt Larry Silver nun hingegen die Zuschreibung an den Antwerpener Maler und bezeichnet das Bild sogar als „a major work by Massys“, das er in die späten 1520er datiert.
Die zahlreichen Andachtsbilder, die dieser bedeutende Antwerpener Meister neben großen Altarbildern ausführte, sind Heiligen- und vor allem Madonnendarstellungen. In kleinem Format wurden diese Bilder für bürgerliche Auftraggeber zur persönlichen Andacht hergestellt. Dabei wurde die Madonna entsprechend ihrer theologischen Rolle als Fürsprecherin zwischen dem Betenden und dem Gottesssohn als Vermittlerin verehrt. Das Sujet bearbeitete Massys besonders häufig im letzten Jahrzehnt vor seinem Tod, was auch zur Datierung unseres Andachtsbild von Larry Silver in das Spätwerk des Künstlers passt.
QUINTEN MASSYS
Mary in Prayer
Oil on panel. 44 x 33.5 cm.
Provenance
With P. De Boer, Amsterdam;
Anonymous sale, Lempertz, Cologne, 20-22 November 1975, lot 117;
H. Becker, Dortmund;
Hans M. Cramer, The Hague, 1977.
Literature
Andrée de Bosque: Quinten Metsys, Brussels 1975, p. 252-53, no. 316, reproduced p. 251 and p. 390;
Hans M. Cramer, Addendum 3, The Hague 1977, no. 107, reproduced;
Larry Silver: The Paintings of Quinten Massys with Catalogue Raisonné, Oxford 1984, p. 230, under no. 49;
Petra Müller, in: Ekkehard Mai (ed.): Das Kabinett des Sammlers, Cologne 1993, pp. 28-9, no. 12, reproduced.
The small panel shows a portrait of the Virgin Mary with hands folded, in front of a dark background. The delicate esh tones of her face and hands, the white of the scarf wrapped around her head and tied at her neck are masterfully executed. This same display of skilled handling
is also found in the radiant blue of her coat with gold embroidery
and sleeves. The panel is an excellent work of the transitional period between late gothic and Renaissance art of the Netherlands in the early 16th century.
In her 1975 monograph on Quinten Massys, Andrée de Bosque recognised the formal and iconographic connection of the picture with a wing of a diptych by this painter in the Museo Nacional del Prado
(ill. 1). The Prado painting shows the same cropped detail of an almost identical representation of the Virgin but viewed from the other side. From this it can be concluded that there would have been a Christ Blessing as counterpart for our picture. Another pair of paintings by Quinten Massys with the same motif, but dated earlier, can be found in the Koninklijk Museum voor Schone Kunsten Antwerp.
De Bosque has possibly seen our picture in the original. She describes it in detail in her book and summarises her judgement as follows:
“La Vierge de la collection allemande est d'une qualité supérieure à celle du Prado et se rapproche, bien qu'elle soit d'un style archaisant, de la Vierge du Louvre de 1529”. While she believes to recognise the hand also of his student and son, Jan Massys, in the Madrid diptych - originally from the personal collection of King Philipp II of Spain - she sees our painting as a work by the father himself. Ekkehard Mai and his associate Petra Müller concurred with this judgement in 1993 (op. cit.) and adopted the attribution to Quinten Massys. Larry Silver, on the other hand, did not initially reference our painting in his 1984 monography about Quinten Massys in any detail, mentioning it only in connection with the Madrid diptych - which he believes to be by Quinten - as a copy. However, having viewed a recent high-resolution photograph, Larry Silver now con rms the attribution to the Antwerp painter and even describes the picture as “a major work by Massys”, which he dates to the late 1520s.
The many devotional pictures which this important Antwerp master executed, in addition to large altar pictures, are depictions of saints and the Madonna in particular. These pictures were produced in small format for bourgeois clients for personal devotion. The Madonna was worshiped as mediator according to her theological role as intercessor between those praying and the Son of God. Massys turned to this subject particularly often in the last decade before his death which also ts Larry Silver's dating of our devotional picture to within the artist's late work.
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QUINTEN MASSYS
Betende Maria
Öl auf Holz. 44 x 33,5 cm.
Provenienz
Kunsthandel P. De Boer, Amsterdam. – 547. Lempertz-Auktion, Köln, 20.-22.11.1975, Lot 117. – H. Becker, Dortmund. – Hans M. Cramer, Den Haag, 1977.
Literatur
Andrée de Bosque: Quentin Metsys, Brüssel 1975, S. 252-3, Nr. 316, Abb. S. 251 und S. 390. – Hans M. Cramer, Addendum 3, Den Haag 1977, Nr. 107, mit Abb. – Larry Silver: The Paintings of Quinten Massys with Catalogue Raisonné, Oxford 1984, S. 230, unter Nr. 49. – Petra Müller, in: Ekkehard Mai (Hg.): Das Kabinett des Sammlers, Köln 1993, S. 28-30, Nr. 12, mit Abb.
Vor einem dunklen Hintergrund zeigt die kleine Tafel das Brustbild Mariens mit gefalteten Händen. Meisterlich ausgeführt sind das zarte Inkarnat ihres Gesichtes und der Hände, das Weiß des um den Kopf geschlungenen und im Nacken gebundenen Tuchs sowie das strahlende Blau Ihres Mantels mit goldener Stickerei am Halsausschnitt und den Ärmeln. Die Tafel stellt sich als ein hervorragendes Werk der Übergangszeit zwischen spätgotischer und Renaissancekunst in den Niederlanden im frühen 16. Jahrhundert dar.
In ihrer Monografie über Quinten Massys hat Andrée de Bosque 1975 den formalen und ikonographischen Zusammenhang des Bildes mit einem Flügel eines Diptychons dieses Malers im Museo Nacional del Prado erkannt. Der gleiche Bildausschnitt und eine nahezu identische Darstellung Mariens ist dort nur seitenverkehrt dargestellt. Daraus ist zu schließen, dass es auch für das vorliegende Bild einen „Segnenden Christus“ als Gegenstück gegeben haben wird. Ein weiteres Bilderpaar mit dem gleichen Motiv von Quinten Massys, das aber früher zu datieren ist, befindet sich im Königlichen Museum von Antwerpen.
De Bosque hat unser Bild wohl im Original gesehen. Sie beschreibt es in ihrem Buch ausführlich und fasst ihr Urteil so zusammen: „La Vierge de la collection allemande est d´un qualité superieure à celle du Prado et se rapproche, bien qu´elle soit d´un style archaisant, de la Vierge du Louvre de 1529“. Während sie bei dem Madrider Diptychon - ursprünglich aus dem persönlichen Besitz von König Philipp II. von Spanien stammend - auch die Hand des Schülers und Sohnes Jan Massys zu erkennen glaubt, sieht sie unser Bild als ein eigenhändiges Werk des Vaters. Diesem Urteil schlossen sich Ekkehard Mai und seine Mitarbeiterin Petra Müller 1993 (op. cit.) an und übernahmen die Zuschreibung an Quinten Massys.
Larry Silver ging in seiner 1984 erschienenen Monographie über Quinten Massys hingegen auf unser Bild zunächst nicht näher ein und erwähnt es lediglich im Zusammenhang mit dem Madrider Diptychon - für ihn ein Werk Quintens - als eine Kopie. Nach einer aktuellen hochauflösenden Photographie bestätigt Larry Silver nun hingegen die Zuschreibung an den Antwerpener Maler und bezeichnet das Bild sogar als „a major work by Massys“, das er in die späten 1520er datiert.
Die zahlreichen Andachtsbilder, die dieser bedeutende Antwerpener Meister neben großen Altarbildern ausführte, sind Heiligen- und vor allem Madonnendarstellungen. In kleinem Format wurden diese Bilder für bürgerliche Auftraggeber zur persönlichen Andacht hergestellt. Dabei wurde die Madonna entsprechend ihrer theologischen Rolle als Fürsprecherin zwischen dem Betenden und dem Gottesssohn als Vermittlerin verehrt. Das Sujet bearbeitete Massys besonders häufig im letzten Jahrzehnt vor seinem Tod, was auch zur Datierung unseres Andachtsbild von Larry Silver in das Spätwerk des Künstlers passt.
QUINTEN MASSYS
Mary in Prayer
Oil on panel. 44 x 33.5 cm.
Provenance
With P. De Boer, Amsterdam;
Anonymous sale, Lempertz, Cologne, 20-22 November 1975, lot 117;
H. Becker, Dortmund;
Hans M. Cramer, The Hague, 1977.
Literature
Andrée de Bosque: Quinten Metsys, Brussels 1975, p. 252-53, no. 316, reproduced p. 251 and p. 390;
Hans M. Cramer, Addendum 3, The Hague 1977, no. 107, reproduced;
Larry Silver: The Paintings of Quinten Massys with Catalogue Raisonné, Oxford 1984, p. 230, under no. 49;
Petra Müller, in: Ekkehard Mai (ed.): Das Kabinett des Sammlers, Cologne 1993, pp. 28-9, no. 12, reproduced.
The small panel shows a portrait of the Virgin Mary with hands folded, in front of a dark background. The delicate esh tones of her face and hands, the white of the scarf wrapped around her head and tied at her neck are masterfully executed. This same display of skilled handling
is also found in the radiant blue of her coat with gold embroidery
and sleeves. The panel is an excellent work of the transitional period between late gothic and Renaissance art of the Netherlands in the early 16th century.
In her 1975 monograph on Quinten Massys, Andrée de Bosque recognised the formal and iconographic connection of the picture with a wing of a diptych by this painter in the Museo Nacional del Prado
(ill. 1). The Prado painting shows the same cropped detail of an almost identical representation of the Virgin but viewed from the other side. From this it can be concluded that there would have been a Christ Blessing as counterpart for our picture. Another pair of paintings by Quinten Massys with the same motif, but dated earlier, can be found in the Koninklijk Museum voor Schone Kunsten Antwerp.
De Bosque has possibly seen our picture in the original. She describes it in detail in her book and summarises her judgement as follows:
“La Vierge de la collection allemande est d'une qualité supérieure à celle du Prado et se rapproche, bien qu'elle soit d'un style archaisant, de la Vierge du Louvre de 1529”. While she believes to recognise the hand also of his student and son, Jan Massys, in the Madrid diptych - originally from the personal collection of King Philipp II of Spain - she sees our painting as a work by the father himself. Ekkehard Mai and his associate Petra Müller concurred with this judgement in 1993 (op. cit.) and adopted the attribution to Quinten Massys. Larry Silver, on the other hand, did not initially reference our painting in his 1984 monography about Quinten Massys in any detail, mentioning it only in connection with the Madrid diptych - which he believes to be by Quinten - as a copy. However, having viewed a recent high-resolution photograph, Larry Silver now con rms the attribution to the Antwerp painter and even describes the picture as “a major work by Massys”, which he dates to the late 1520s.
The many devotional pictures which this important Antwerp master executed, in addition to large altar pictures, are depictions of saints and the Madonna in particular. These pictures were produced in small format for bourgeois clients for personal devotion. The Madonna was worshiped as mediator according to her theological role as intercessor between those praying and the Son of God. Massys turned to this subject particularly often in the last decade before his death which also ts Larry Silver's dating of our devotional picture to within the artist's late work.
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