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Pâris Bordone, 1500 Treviso - 1571 Venice LOVERS IN LANDSCAPE (DAPHNIS AND CHLOE WITH CUPID) Oil
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Pâris Bordone,
1500 Treviso - 1571 Venice LOVERS IN LANDSCAPE (DAPHNIS AND CHLOE WITH CUPID) Oil on canvas. 100 x 134 cm. The present work is of outstanding style and belongs to the non-religious works by Pâris Bordone. In this, the artist mostly created sophisticated allegories with often quite revealing, erotic innuendos. These depictions make up the largest part of Pâris Bordone's oeuvre and they are quite often masterpieces, such as the so called ''Amanti veneziani'' (Pinacoteca Brera, Milan) or ''Venere, Flora, Marte e Cupido'' (Hermitage, St Petersburg). In the 19th century the painting belonged to Senator Giovanni Morelli, then later - amongst others - it was part of the Crespi collection in Milan, until it eventually became part of the collection of Lili Fröhlich-Bum, the famous art historian and expert of Venetian painting. Thanks to the frequent change of owner, there are a wealth of documents and consequently a comprehensive bibliography. The painting impresses with its warm-vibrant, typical Venetian colouration, its formal balance and the harmonious depiction of the figures. All this is typical for works from Bordone's prime era. Between 1550 and 1560 the painter had a preference for mythological-allegorical depictions, as these were extremely popular with aristocratic Italian as well as noble foreign commissioners. The Mannerist manner of representation - with distinct reminiscences of The School of Fontainebleau - as well as the colouration with the main colours brown and green of the landscapes, which are then harmonized by the yellow dress of the girl and red cloak of the shepherd, are typical for Bordone's creative work of the 50s and 60s and doubtlessly point to paintings such as ''Venere e Marte'' (Galleria Doria Pamphili, Rome), ''Venere dormiente con amorino'' (Galleria Franchetti, Ca' d'Oro, Venice) and ''Venere e Amore'' (Museum Warsaw). An interpretation of the painting is not easy and as a result the expert's opinions are considerably divided: in a first monograph around 1900 Luigi Bailo and Girolamo Biscaro identified the work as Jupiter with a nymph and small Cupid whereas Bernard Berenson assumed in 1957 that it shows Venus and Cupid; Egidio Martini (1968) described the work simply as shepherd and nymph, but then called it later lovers in landscape with Cupid and the Climax of their Love; other critics thought it to be a depiction of Venus and Adonis. All these interpretations are absolutely reasonable, however it seems more obvious for Pâris Bordone's oeuvre, to regard the two main figures as Daphnis and Chloe, as the painter had already depicted this subject several times (a very similar version is held at the National Gallery in London): the flute, which the young man is holding in his right hand, would thus correspond with the literary Daphnis of Greek tradition (Son of Mercury and a naiad, the founder of bucolic poetry) and his love for Chloe according to legend. Provenance: Senator Giovanni Morelli (1816 - 1891), Bergamo. Duke of Camporeale, Palermo. Cristoforo Benigno Crespi (1833 -1920), Milan. Crespi Sale - Galerie Georges Petit, 4 June 1914, item no. 10. L. Fröhlich Bum. Fischmann, München. Galerie Sedelmeyer, Paris. Galerie Pardo, Paris. Registrered: Fondazione Zeri (92849).
Pâris Bordone, 1500 Treviso - 1571 Venedig LIEBESPAAR MIT LANDSCHAFT (DAPHNIS UND CHLOE MIT CUPIDO) Öl auf Leinwand. 100 x 134 cm. Gerahmt. Das hier vorliegende Werk von hervorragender Machart gehört zu den nicht religiösen Arbeiten von Pâris Bordone. Der Künstler erschuf dabei zumeist feinsinnige Allegorien mit oftmals recht freizügig-erotischen Anspielungen. Diese Darstellungen machen den Großteil des Schaffens von Pâris Bordone aus und oft handelt es sich hierbei um Meisterwerke, wie zum Beispiel die sogenannten "Amanti veneziani" (Pinacoteca di Brera, Mailand) oder "Venere, Flora, Marte e Cupido" (Ermitage, St. Petersburg) und "Marte e Venere presi nella rete da Vulcano"
1500 Treviso - 1571 Venice LOVERS IN LANDSCAPE (DAPHNIS AND CHLOE WITH CUPID) Oil on canvas. 100 x 134 cm. The present work is of outstanding style and belongs to the non-religious works by Pâris Bordone. In this, the artist mostly created sophisticated allegories with often quite revealing, erotic innuendos. These depictions make up the largest part of Pâris Bordone's oeuvre and they are quite often masterpieces, such as the so called ''Amanti veneziani'' (Pinacoteca Brera, Milan) or ''Venere, Flora, Marte e Cupido'' (Hermitage, St Petersburg). In the 19th century the painting belonged to Senator Giovanni Morelli, then later - amongst others - it was part of the Crespi collection in Milan, until it eventually became part of the collection of Lili Fröhlich-Bum, the famous art historian and expert of Venetian painting. Thanks to the frequent change of owner, there are a wealth of documents and consequently a comprehensive bibliography. The painting impresses with its warm-vibrant, typical Venetian colouration, its formal balance and the harmonious depiction of the figures. All this is typical for works from Bordone's prime era. Between 1550 and 1560 the painter had a preference for mythological-allegorical depictions, as these were extremely popular with aristocratic Italian as well as noble foreign commissioners. The Mannerist manner of representation - with distinct reminiscences of The School of Fontainebleau - as well as the colouration with the main colours brown and green of the landscapes, which are then harmonized by the yellow dress of the girl and red cloak of the shepherd, are typical for Bordone's creative work of the 50s and 60s and doubtlessly point to paintings such as ''Venere e Marte'' (Galleria Doria Pamphili, Rome), ''Venere dormiente con amorino'' (Galleria Franchetti, Ca' d'Oro, Venice) and ''Venere e Amore'' (Museum Warsaw). An interpretation of the painting is not easy and as a result the expert's opinions are considerably divided: in a first monograph around 1900 Luigi Bailo and Girolamo Biscaro identified the work as Jupiter with a nymph and small Cupid whereas Bernard Berenson assumed in 1957 that it shows Venus and Cupid; Egidio Martini (1968) described the work simply as shepherd and nymph, but then called it later lovers in landscape with Cupid and the Climax of their Love; other critics thought it to be a depiction of Venus and Adonis. All these interpretations are absolutely reasonable, however it seems more obvious for Pâris Bordone's oeuvre, to regard the two main figures as Daphnis and Chloe, as the painter had already depicted this subject several times (a very similar version is held at the National Gallery in London): the flute, which the young man is holding in his right hand, would thus correspond with the literary Daphnis of Greek tradition (Son of Mercury and a naiad, the founder of bucolic poetry) and his love for Chloe according to legend. Provenance: Senator Giovanni Morelli (1816 - 1891), Bergamo. Duke of Camporeale, Palermo. Cristoforo Benigno Crespi (1833 -1920), Milan. Crespi Sale - Galerie Georges Petit, 4 June 1914, item no. 10. L. Fröhlich Bum. Fischmann, München. Galerie Sedelmeyer, Paris. Galerie Pardo, Paris. Registrered: Fondazione Zeri (92849).
Pâris Bordone, 1500 Treviso - 1571 Venedig LIEBESPAAR MIT LANDSCHAFT (DAPHNIS UND CHLOE MIT CUPIDO) Öl auf Leinwand. 100 x 134 cm. Gerahmt. Das hier vorliegende Werk von hervorragender Machart gehört zu den nicht religiösen Arbeiten von Pâris Bordone. Der Künstler erschuf dabei zumeist feinsinnige Allegorien mit oftmals recht freizügig-erotischen Anspielungen. Diese Darstellungen machen den Großteil des Schaffens von Pâris Bordone aus und oft handelt es sich hierbei um Meisterwerke, wie zum Beispiel die sogenannten "Amanti veneziani" (Pinacoteca di Brera, Mailand) oder "Venere, Flora, Marte e Cupido" (Ermitage, St. Petersburg) und "Marte e Venere presi nella rete da Vulcano"
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Pâris Bordone,
1500 Treviso - 1571 Venice LOVERS IN LANDSCAPE (DAPHNIS AND CHLOE WITH CUPID) Oil on canvas. 100 x 134 cm. The present work is of outstanding style and belongs to the non-religious works by Pâris Bordone. In this, the artist mostly created sophisticated allegories with often quite revealing, erotic innuendos. These depictions make up the largest part of Pâris Bordone's oeuvre and they are quite often masterpieces, such as the so called ''Amanti veneziani'' (Pinacoteca Brera, Milan) or ''Venere, Flora, Marte e Cupido'' (Hermitage, St Petersburg). In the 19th century the painting belonged to Senator Giovanni Morelli, then later - amongst others - it was part of the Crespi collection in Milan, until it eventually became part of the collection of Lili Fröhlich-Bum, the famous art historian and expert of Venetian painting. Thanks to the frequent change of owner, there are a wealth of documents and consequently a comprehensive bibliography. The painting impresses with its warm-vibrant, typical Venetian colouration, its formal balance and the harmonious depiction of the figures. All this is typical for works from Bordone's prime era. Between 1550 and 1560 the painter had a preference for mythological-allegorical depictions, as these were extremely popular with aristocratic Italian as well as noble foreign commissioners. The Mannerist manner of representation - with distinct reminiscences of The School of Fontainebleau - as well as the colouration with the main colours brown and green of the landscapes, which are then harmonized by the yellow dress of the girl and red cloak of the shepherd, are typical for Bordone's creative work of the 50s and 60s and doubtlessly point to paintings such as ''Venere e Marte'' (Galleria Doria Pamphili, Rome), ''Venere dormiente con amorino'' (Galleria Franchetti, Ca' d'Oro, Venice) and ''Venere e Amore'' (Museum Warsaw). An interpretation of the painting is not easy and as a result the expert's opinions are considerably divided: in a first monograph around 1900 Luigi Bailo and Girolamo Biscaro identified the work as Jupiter with a nymph and small Cupid whereas Bernard Berenson assumed in 1957 that it shows Venus and Cupid; Egidio Martini (1968) described the work simply as shepherd and nymph, but then called it later lovers in landscape with Cupid and the Climax of their Love; other critics thought it to be a depiction of Venus and Adonis. All these interpretations are absolutely reasonable, however it seems more obvious for Pâris Bordone's oeuvre, to regard the two main figures as Daphnis and Chloe, as the painter had already depicted this subject several times (a very similar version is held at the National Gallery in London): the flute, which the young man is holding in his right hand, would thus correspond with the literary Daphnis of Greek tradition (Son of Mercury and a naiad, the founder of bucolic poetry) and his love for Chloe according to legend. Provenance: Senator Giovanni Morelli (1816 - 1891), Bergamo. Duke of Camporeale, Palermo. Cristoforo Benigno Crespi (1833 -1920), Milan. Crespi Sale - Galerie Georges Petit, 4 June 1914, item no. 10. L. Fröhlich Bum. Fischmann, München. Galerie Sedelmeyer, Paris. Galerie Pardo, Paris. Registrered: Fondazione Zeri (92849).
Pâris Bordone, 1500 Treviso - 1571 Venedig LIEBESPAAR MIT LANDSCHAFT (DAPHNIS UND CHLOE MIT CUPIDO) Öl auf Leinwand. 100 x 134 cm. Gerahmt. Das hier vorliegende Werk von hervorragender Machart gehört zu den nicht religiösen Arbeiten von Pâris Bordone. Der Künstler erschuf dabei zumeist feinsinnige Allegorien mit oftmals recht freizügig-erotischen Anspielungen. Diese Darstellungen machen den Großteil des Schaffens von Pâris Bordone aus und oft handelt es sich hierbei um Meisterwerke, wie zum Beispiel die sogenannten "Amanti veneziani" (Pinacoteca di Brera, Mailand) oder "Venere, Flora, Marte e Cupido" (Ermitage, St. Petersburg) und "Marte e Venere presi nella rete da Vulcano"
1500 Treviso - 1571 Venice LOVERS IN LANDSCAPE (DAPHNIS AND CHLOE WITH CUPID) Oil on canvas. 100 x 134 cm. The present work is of outstanding style and belongs to the non-religious works by Pâris Bordone. In this, the artist mostly created sophisticated allegories with often quite revealing, erotic innuendos. These depictions make up the largest part of Pâris Bordone's oeuvre and they are quite often masterpieces, such as the so called ''Amanti veneziani'' (Pinacoteca Brera, Milan) or ''Venere, Flora, Marte e Cupido'' (Hermitage, St Petersburg). In the 19th century the painting belonged to Senator Giovanni Morelli, then later - amongst others - it was part of the Crespi collection in Milan, until it eventually became part of the collection of Lili Fröhlich-Bum, the famous art historian and expert of Venetian painting. Thanks to the frequent change of owner, there are a wealth of documents and consequently a comprehensive bibliography. The painting impresses with its warm-vibrant, typical Venetian colouration, its formal balance and the harmonious depiction of the figures. All this is typical for works from Bordone's prime era. Between 1550 and 1560 the painter had a preference for mythological-allegorical depictions, as these were extremely popular with aristocratic Italian as well as noble foreign commissioners. The Mannerist manner of representation - with distinct reminiscences of The School of Fontainebleau - as well as the colouration with the main colours brown and green of the landscapes, which are then harmonized by the yellow dress of the girl and red cloak of the shepherd, are typical for Bordone's creative work of the 50s and 60s and doubtlessly point to paintings such as ''Venere e Marte'' (Galleria Doria Pamphili, Rome), ''Venere dormiente con amorino'' (Galleria Franchetti, Ca' d'Oro, Venice) and ''Venere e Amore'' (Museum Warsaw). An interpretation of the painting is not easy and as a result the expert's opinions are considerably divided: in a first monograph around 1900 Luigi Bailo and Girolamo Biscaro identified the work as Jupiter with a nymph and small Cupid whereas Bernard Berenson assumed in 1957 that it shows Venus and Cupid; Egidio Martini (1968) described the work simply as shepherd and nymph, but then called it later lovers in landscape with Cupid and the Climax of their Love; other critics thought it to be a depiction of Venus and Adonis. All these interpretations are absolutely reasonable, however it seems more obvious for Pâris Bordone's oeuvre, to regard the two main figures as Daphnis and Chloe, as the painter had already depicted this subject several times (a very similar version is held at the National Gallery in London): the flute, which the young man is holding in his right hand, would thus correspond with the literary Daphnis of Greek tradition (Son of Mercury and a naiad, the founder of bucolic poetry) and his love for Chloe according to legend. Provenance: Senator Giovanni Morelli (1816 - 1891), Bergamo. Duke of Camporeale, Palermo. Cristoforo Benigno Crespi (1833 -1920), Milan. Crespi Sale - Galerie Georges Petit, 4 June 1914, item no. 10. L. Fröhlich Bum. Fischmann, München. Galerie Sedelmeyer, Paris. Galerie Pardo, Paris. Registrered: Fondazione Zeri (92849).
Pâris Bordone, 1500 Treviso - 1571 Venedig LIEBESPAAR MIT LANDSCHAFT (DAPHNIS UND CHLOE MIT CUPIDO) Öl auf Leinwand. 100 x 134 cm. Gerahmt. Das hier vorliegende Werk von hervorragender Machart gehört zu den nicht religiösen Arbeiten von Pâris Bordone. Der Künstler erschuf dabei zumeist feinsinnige Allegorien mit oftmals recht freizügig-erotischen Anspielungen. Diese Darstellungen machen den Großteil des Schaffens von Pâris Bordone aus und oft handelt es sich hierbei um Meisterwerke, wie zum Beispiel die sogenannten "Amanti veneziani" (Pinacoteca di Brera, Mailand) oder "Venere, Flora, Marte e Cupido" (Ermitage, St. Petersburg) und "Marte e Venere presi nella rete da Vulcano"
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