78
Spanish school; mid-17th century."The Judgement of Solomon".Oil on canvas. Re-framed.Size: 121 x 164
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Beschreibung
Spanish school; mid-17th century.
"The Judgement of Solomon".
Oil on canvas. Re-framed.
Size: 121 x 164 cm; 177 x 135 cm (frame).
In this work the painter narrates the scene of the trial of Solomon with great attention to detail, composing a scene of great narrative and scenographic character, located in an interior slightly open to landscape and populated by numerous characters. The composition of the scene is notable for its dynamism and movement, which comes from the dramatic postures adopted by some of the figures, such as the mothers on the right and the male figure holding a child. The foreshortening of these figures, including the baby who follows the wine, generates both the aforementioned dynamism and a greater sense of spatiality. Although there are certain differences, it is worth noting the compositional and thematic similarity of the present work to the painting by Rubens in the Museo del Prado collection, which was documented in 1746 as part of the collection of Isabella of Farnese. With regard to the subject matter of the work, it should be noted that the Judgement of Solomon is narrated in the Old Testament (I Kings 3:16-28), and describes the wise recourse used by the king of Israel to ascertain the truth of the case before him: the dispute between two women, the son of one of whom had died, both of whom claimed to be the mother of the living child. The episode exalts the justice and wisdom of the one who wields legitimate political power, that is, the one that comes from God according to the traditional interpretation. It also highlights the value of maternal abnegation, which prefers to renounce one's own right for the sake of the child, in contrast to the evil of envy, which prefers the evil of others even if it is not to one's own advantage. This scene has been depicted in art since the Middle Ages, and its iconography influenced the composition of different themes with similar elements: the life decision of a magistrate, usually enthroned, accompanied by soldiers and generally with the presence of a female figure.
As already mentioned, due to the formal characteristics of the work, this painting can be related to the circle of Peter Paul Rubens, a painter of the Flemish school who nevertheless competed on equal terms with contemporary Italian artists and was of major international importance, given that his influence was also key in other schools, as in the case of the transition to the full Baroque in Spain. Although born in Westphalia, Rubens grew up in Antwerp, where his family originated. After completing his training Rubens joined the Antwerp painters' guild in 1598. Only two years later he travelled to Italy, where he stayed from 1600 to 1608. During this decisive period, the young Flemish master had first-hand experience of naturalism and classicism, the works of Caravaggio and the Carracci.
"The Judgement of Solomon".
Oil on canvas. Re-framed.
Size: 121 x 164 cm; 177 x 135 cm (frame).
In this work the painter narrates the scene of the trial of Solomon with great attention to detail, composing a scene of great narrative and scenographic character, located in an interior slightly open to landscape and populated by numerous characters. The composition of the scene is notable for its dynamism and movement, which comes from the dramatic postures adopted by some of the figures, such as the mothers on the right and the male figure holding a child. The foreshortening of these figures, including the baby who follows the wine, generates both the aforementioned dynamism and a greater sense of spatiality. Although there are certain differences, it is worth noting the compositional and thematic similarity of the present work to the painting by Rubens in the Museo del Prado collection, which was documented in 1746 as part of the collection of Isabella of Farnese. With regard to the subject matter of the work, it should be noted that the Judgement of Solomon is narrated in the Old Testament (I Kings 3:16-28), and describes the wise recourse used by the king of Israel to ascertain the truth of the case before him: the dispute between two women, the son of one of whom had died, both of whom claimed to be the mother of the living child. The episode exalts the justice and wisdom of the one who wields legitimate political power, that is, the one that comes from God according to the traditional interpretation. It also highlights the value of maternal abnegation, which prefers to renounce one's own right for the sake of the child, in contrast to the evil of envy, which prefers the evil of others even if it is not to one's own advantage. This scene has been depicted in art since the Middle Ages, and its iconography influenced the composition of different themes with similar elements: the life decision of a magistrate, usually enthroned, accompanied by soldiers and generally with the presence of a female figure.
As already mentioned, due to the formal characteristics of the work, this painting can be related to the circle of Peter Paul Rubens, a painter of the Flemish school who nevertheless competed on equal terms with contemporary Italian artists and was of major international importance, given that his influence was also key in other schools, as in the case of the transition to the full Baroque in Spain. Although born in Westphalia, Rubens grew up in Antwerp, where his family originated. After completing his training Rubens joined the Antwerp painters' guild in 1598. Only two years later he travelled to Italy, where he stayed from 1600 to 1608. During this decisive period, the young Flemish master had first-hand experience of naturalism and classicism, the works of Caravaggio and the Carracci.
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Spanish school; mid-17th century.
"The Judgement of Solomon".
Oil on canvas. Re-framed.
Size: 121 x 164 cm; 177 x 135 cm (frame).
In this work the painter narrates the scene of the trial of Solomon with great attention to detail, composing a scene of great narrative and scenographic character, located in an interior slightly open to landscape and populated by numerous characters. The composition of the scene is notable for its dynamism and movement, which comes from the dramatic postures adopted by some of the figures, such as the mothers on the right and the male figure holding a child. The foreshortening of these figures, including the baby who follows the wine, generates both the aforementioned dynamism and a greater sense of spatiality. Although there are certain differences, it is worth noting the compositional and thematic similarity of the present work to the painting by Rubens in the Museo del Prado collection, which was documented in 1746 as part of the collection of Isabella of Farnese. With regard to the subject matter of the work, it should be noted that the Judgement of Solomon is narrated in the Old Testament (I Kings 3:16-28), and describes the wise recourse used by the king of Israel to ascertain the truth of the case before him: the dispute between two women, the son of one of whom had died, both of whom claimed to be the mother of the living child. The episode exalts the justice and wisdom of the one who wields legitimate political power, that is, the one that comes from God according to the traditional interpretation. It also highlights the value of maternal abnegation, which prefers to renounce one's own right for the sake of the child, in contrast to the evil of envy, which prefers the evil of others even if it is not to one's own advantage. This scene has been depicted in art since the Middle Ages, and its iconography influenced the composition of different themes with similar elements: the life decision of a magistrate, usually enthroned, accompanied by soldiers and generally with the presence of a female figure.
As already mentioned, due to the formal characteristics of the work, this painting can be related to the circle of Peter Paul Rubens, a painter of the Flemish school who nevertheless competed on equal terms with contemporary Italian artists and was of major international importance, given that his influence was also key in other schools, as in the case of the transition to the full Baroque in Spain. Although born in Westphalia, Rubens grew up in Antwerp, where his family originated. After completing his training Rubens joined the Antwerp painters' guild in 1598. Only two years later he travelled to Italy, where he stayed from 1600 to 1608. During this decisive period, the young Flemish master had first-hand experience of naturalism and classicism, the works of Caravaggio and the Carracci.
"The Judgement of Solomon".
Oil on canvas. Re-framed.
Size: 121 x 164 cm; 177 x 135 cm (frame).
In this work the painter narrates the scene of the trial of Solomon with great attention to detail, composing a scene of great narrative and scenographic character, located in an interior slightly open to landscape and populated by numerous characters. The composition of the scene is notable for its dynamism and movement, which comes from the dramatic postures adopted by some of the figures, such as the mothers on the right and the male figure holding a child. The foreshortening of these figures, including the baby who follows the wine, generates both the aforementioned dynamism and a greater sense of spatiality. Although there are certain differences, it is worth noting the compositional and thematic similarity of the present work to the painting by Rubens in the Museo del Prado collection, which was documented in 1746 as part of the collection of Isabella of Farnese. With regard to the subject matter of the work, it should be noted that the Judgement of Solomon is narrated in the Old Testament (I Kings 3:16-28), and describes the wise recourse used by the king of Israel to ascertain the truth of the case before him: the dispute between two women, the son of one of whom had died, both of whom claimed to be the mother of the living child. The episode exalts the justice and wisdom of the one who wields legitimate political power, that is, the one that comes from God according to the traditional interpretation. It also highlights the value of maternal abnegation, which prefers to renounce one's own right for the sake of the child, in contrast to the evil of envy, which prefers the evil of others even if it is not to one's own advantage. This scene has been depicted in art since the Middle Ages, and its iconography influenced the composition of different themes with similar elements: the life decision of a magistrate, usually enthroned, accompanied by soldiers and generally with the presence of a female figure.
As already mentioned, due to the formal characteristics of the work, this painting can be related to the circle of Peter Paul Rubens, a painter of the Flemish school who nevertheless competed on equal terms with contemporary Italian artists and was of major international importance, given that his influence was also key in other schools, as in the case of the transition to the full Baroque in Spain. Although born in Westphalia, Rubens grew up in Antwerp, where his family originated. After completing his training Rubens joined the Antwerp painters' guild in 1598. Only two years later he travelled to Italy, where he stayed from 1600 to 1608. During this decisive period, the young Flemish master had first-hand experience of naturalism and classicism, the works of Caravaggio and the Carracci.
9th March - Old Masters
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Calle Velázquez 7, Madrid
Carrer de Cirilo Amorós 55, Valencia
Barcelona
08009
Spain
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