Flämischer Meister, 16. Jahrhundert Lot n° 294

Adoration of the Magi Oil on oak. 68.5 x 90 cm. Verso mounting block, small red adhesive label, French inscribed "flamand Adoration". In Renaissance frame. The representation of the picture panel brings all the figures gathered in the picture very close to the viewer. This can be seen as a stylistic feature that the painting was probably created somewhat after the examples of, for example, the "Master of the Antwerp Adoration" (Museum of Fine Arts Antwerp), who was active around 1520. Also the symmetrically developed calm, which is to be noticed in the work of the "Master of 1518", stands in contrast to the present panel. In addition, this is probably not an altarpiece illustrating several scenes and scene details, for example, with lateral wings, as the examples mentioned, but was created as a single representation. Naming masters for the "Antwerp Mannerists" and their biographies has proven extremely difficult. For the first time in 1915, the eminent art historian Max J. Friedländer devoted himself to the task of assigning artists (see Lit.). In the process, "notnames" were formed for works whose style pointed to a particular painter. In the present case, it can be said that Italian influences have already contributed. Just think of paintings of the same subject by Bellini or Mantegna. Just in this period there was also a close exchange of ideas and encounters, after which nevertheless the peculiarity of Flemish painting was preserved. Shown is the Bethlehem scene with the Magi honoring the baby Jesus with gifts. The composition divides the pictorial space: on the right, the group with Mary, the child and Joseph. On the left, crowded, the half figures of the three kings and their entourage, traditionally the oldest with a long beard, dark-skinned Balthazar and Kaspar here with headdress. In the upper left corner the kings' companions, whereby it should be remembered that the physiognomy of the one in the upper left corner might suggest a portrait of a patron, which is also the case for the bearded king. The textiles, but above all the golden ceremonial vessels as gifts, already betray the art of the mature Renaissance style. The painting style is of very high quality. Of course, an iconographic, as well as symbolic peculiarity is also inserted in this picture: The child is not looking at the splendor of the gold goblets, but at an apple, to which the folded hands of the king also point. Probably the most significant statement of the picture. Literature: Cf. Max J. Friedländer, Die Antwerpener Manieristen von 1520, in: Jahrbuch der königlich preußischen Kunstsammlungen 36 (1915), pp. 65-91. Cf. Max J. Friedländer Die altniederländische Malerei. The Antwerp Mannerists - Adriaen Ysenbrant, vol. XI, Berlin 1933. Cf. Peter van den Brink/ Maximiliaan P. J. Martens (eds.), ExtravagAnt! A Forgotten Chapter of Antwerp Painting 1500-1530, Koninklijk Museum vor Schone Kunsten Antwerpen, October 15-December 31, 2005, Antwerp 2005. Cf. Ortrud Westheider (ed.), Falling into the World. The Art of Mannerism in Europe, exhibition cat.: Hamburg Bucerius Kunstforum 2008/2009 Munich 2008. A.R. (1331312) (1) (11) Flemish School of the 16th century THE ADORATION OF THE MAGI Oil on oak panel. 68.5 x 90 cm. Parqueting slats on the back, small red sticker, labeled in french "flamand Adoration". All the figures gathered in the painting are brought closely to the viewer. This can be considered as a stylistic feature and suggests that the painting was probably created somewhat after the example of the "Master of the Antwerp Adoration" (Antwerp Museum of Fine Arts), who was active around 1520. In contrast to works by the "Master of 1518", the present symmetrical composition conveys tranquillity. Furthermore, it was probably not created as an altarpiece illustrating several scenes and details in side wings, as is the case in the mentioned examples, but was created as a standalone depiction. The identification of masters of the "Antwerp Mannerists" and their biographies has proven very difficult. The important art historian Max Jakob Friedländer first devoted himself to the task of attributing artists in 1915 (see ref.). "Notnamen" were invented names for works whose style points to a specific painter. The present painting shows that Italian influences have already had an impact if one thinks of paintings of the same subjects by Bellini or Mantegna for instance. During this period there was a close exchange of ideas and encounters, after which the uniqueness of Flemish painting was nevertheless preserved. The painting depicts the Bethlehem scene with the three Magi honoring the Christ Child with gifts. The painting style is of very high quality. Naturally the painting also includes iconographic and symbolic characteristics: the Christ