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Flemish or Prague school; early 17th century."Apollo and Marsias".Oil on canvas. Relined.It has an
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Beschreibung
Flemish or Prague school; early 17th century.
"Apollo and Marsias".
Oil on canvas. Relined.
It has an export permit issued on 13 March 2020.
Provenance: Marques de Larios.
It has informative labels on the back: about the provenance and of the delegated board of seizure.
Measurements: 151 x 189 cm; 164 x 202 cm (frame).
This piece depicts a mythological theme known as the challenge between Apollo and Marsias or the verdict of Midas. According to the myth Marsias obtained a flute, when Athena discarded it. Interested in the instrument, the faun specialised in such a way that he was acclaimed for his great virtuosity. This fame brought him into conflict with Apollo, who was considered the god of the arts. For this reason both characters competed; Marsias playing the flute and Apollo the lyre. The judges were the court of both; the satyrs and the nymphs. It is said that despite the great skill of Marsias, Apollo played his instrument upside down and backwards generating harmony in both cases, as Marsias could not achieve this result with the flute he lost to Apollo. In this particular piece, the protagonists of the scene are displaced to the right of the composition: the figure of Apollo is more centralised, naked and dressed in a red cloak, holding a violin in his hands. This instrument is a licence by the artist, as in the original myth Apollo played the lyre, but the artist has respected the idea of the stringed instrument. In the centre, Midas, crowned, gazes at Apollo, as does Marsias, who is wearing a crown and golden mantle. With his back to the viewer, he does not seem to be holding his flute but observing and respecting Apollo's moment of prominence. The scene is accompanied by an entourage of fauns supporting Marsias, and various elegantly dressed ladies representing the muses. A remarkable fact about the scene is that although the main protagonists are in costumes inspired by antiquity, the muses are dressed in the fashion of the time. This characteristic was common during the period, as many court ladies assimilated the classicist aesthetic, creating a symbiosis between antiquity and their own time.
Formally, this work is dominated by the influence of the Flemish school. Thus, the figures are monumental, with idealised faces and serene, balanced gestures, in an idealised representation based on classical canons. The rhetoric of the gestures, theatrical and eloquent, clearly Baroque, is also typical of 17th-century classicism. The importance of the chromatic aspect should also be noted, which is very well thought out, intoned and balanced.
"Apollo and Marsias".
Oil on canvas. Relined.
It has an export permit issued on 13 March 2020.
Provenance: Marques de Larios.
It has informative labels on the back: about the provenance and of the delegated board of seizure.
Measurements: 151 x 189 cm; 164 x 202 cm (frame).
This piece depicts a mythological theme known as the challenge between Apollo and Marsias or the verdict of Midas. According to the myth Marsias obtained a flute, when Athena discarded it. Interested in the instrument, the faun specialised in such a way that he was acclaimed for his great virtuosity. This fame brought him into conflict with Apollo, who was considered the god of the arts. For this reason both characters competed; Marsias playing the flute and Apollo the lyre. The judges were the court of both; the satyrs and the nymphs. It is said that despite the great skill of Marsias, Apollo played his instrument upside down and backwards generating harmony in both cases, as Marsias could not achieve this result with the flute he lost to Apollo. In this particular piece, the protagonists of the scene are displaced to the right of the composition: the figure of Apollo is more centralised, naked and dressed in a red cloak, holding a violin in his hands. This instrument is a licence by the artist, as in the original myth Apollo played the lyre, but the artist has respected the idea of the stringed instrument. In the centre, Midas, crowned, gazes at Apollo, as does Marsias, who is wearing a crown and golden mantle. With his back to the viewer, he does not seem to be holding his flute but observing and respecting Apollo's moment of prominence. The scene is accompanied by an entourage of fauns supporting Marsias, and various elegantly dressed ladies representing the muses. A remarkable fact about the scene is that although the main protagonists are in costumes inspired by antiquity, the muses are dressed in the fashion of the time. This characteristic was common during the period, as many court ladies assimilated the classicist aesthetic, creating a symbiosis between antiquity and their own time.
Formally, this work is dominated by the influence of the Flemish school. Thus, the figures are monumental, with idealised faces and serene, balanced gestures, in an idealised representation based on classical canons. The rhetoric of the gestures, theatrical and eloquent, clearly Baroque, is also typical of 17th-century classicism. The importance of the chromatic aspect should also be noted, which is very well thought out, intoned and balanced.
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Flemish or Prague school; early 17th century.
"Apollo and Marsias".
Oil on canvas. Relined.
It has an export permit issued on 13 March 2020.
Provenance: Marques de Larios.
It has informative labels on the back: about the provenance and of the delegated board of seizure.
Measurements: 151 x 189 cm; 164 x 202 cm (frame).
This piece depicts a mythological theme known as the challenge between Apollo and Marsias or the verdict of Midas. According to the myth Marsias obtained a flute, when Athena discarded it. Interested in the instrument, the faun specialised in such a way that he was acclaimed for his great virtuosity. This fame brought him into conflict with Apollo, who was considered the god of the arts. For this reason both characters competed; Marsias playing the flute and Apollo the lyre. The judges were the court of both; the satyrs and the nymphs. It is said that despite the great skill of Marsias, Apollo played his instrument upside down and backwards generating harmony in both cases, as Marsias could not achieve this result with the flute he lost to Apollo. In this particular piece, the protagonists of the scene are displaced to the right of the composition: the figure of Apollo is more centralised, naked and dressed in a red cloak, holding a violin in his hands. This instrument is a licence by the artist, as in the original myth Apollo played the lyre, but the artist has respected the idea of the stringed instrument. In the centre, Midas, crowned, gazes at Apollo, as does Marsias, who is wearing a crown and golden mantle. With his back to the viewer, he does not seem to be holding his flute but observing and respecting Apollo's moment of prominence. The scene is accompanied by an entourage of fauns supporting Marsias, and various elegantly dressed ladies representing the muses. A remarkable fact about the scene is that although the main protagonists are in costumes inspired by antiquity, the muses are dressed in the fashion of the time. This characteristic was common during the period, as many court ladies assimilated the classicist aesthetic, creating a symbiosis between antiquity and their own time.
Formally, this work is dominated by the influence of the Flemish school. Thus, the figures are monumental, with idealised faces and serene, balanced gestures, in an idealised representation based on classical canons. The rhetoric of the gestures, theatrical and eloquent, clearly Baroque, is also typical of 17th-century classicism. The importance of the chromatic aspect should also be noted, which is very well thought out, intoned and balanced.
"Apollo and Marsias".
Oil on canvas. Relined.
It has an export permit issued on 13 March 2020.
Provenance: Marques de Larios.
It has informative labels on the back: about the provenance and of the delegated board of seizure.
Measurements: 151 x 189 cm; 164 x 202 cm (frame).
This piece depicts a mythological theme known as the challenge between Apollo and Marsias or the verdict of Midas. According to the myth Marsias obtained a flute, when Athena discarded it. Interested in the instrument, the faun specialised in such a way that he was acclaimed for his great virtuosity. This fame brought him into conflict with Apollo, who was considered the god of the arts. For this reason both characters competed; Marsias playing the flute and Apollo the lyre. The judges were the court of both; the satyrs and the nymphs. It is said that despite the great skill of Marsias, Apollo played his instrument upside down and backwards generating harmony in both cases, as Marsias could not achieve this result with the flute he lost to Apollo. In this particular piece, the protagonists of the scene are displaced to the right of the composition: the figure of Apollo is more centralised, naked and dressed in a red cloak, holding a violin in his hands. This instrument is a licence by the artist, as in the original myth Apollo played the lyre, but the artist has respected the idea of the stringed instrument. In the centre, Midas, crowned, gazes at Apollo, as does Marsias, who is wearing a crown and golden mantle. With his back to the viewer, he does not seem to be holding his flute but observing and respecting Apollo's moment of prominence. The scene is accompanied by an entourage of fauns supporting Marsias, and various elegantly dressed ladies representing the muses. A remarkable fact about the scene is that although the main protagonists are in costumes inspired by antiquity, the muses are dressed in the fashion of the time. This characteristic was common during the period, as many court ladies assimilated the classicist aesthetic, creating a symbiosis between antiquity and their own time.
Formally, this work is dominated by the influence of the Flemish school. Thus, the figures are monumental, with idealised faces and serene, balanced gestures, in an idealised representation based on classical canons. The rhetoric of the gestures, theatrical and eloquent, clearly Baroque, is also typical of 17th-century classicism. The importance of the chromatic aspect should also be noted, which is very well thought out, intoned and balanced.
10th March - Old Masters from America and Europe
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Calle Velázquez 7, Madrid
Carrer de Cirilo Amorós 55, Valencia
Barcelona
08009
Spain
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