Large Mythological Scene School of Utrecht 17th century Diana and Actaeon Frame

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About the Item

Large mythological oil on canvas painting "Diana and Her Nymphs at the Bath," Utrecht school known as the Italianizers. first half of the 17th century, entourage of Abraham van Cuylenborch (1620-1658). The scene takes place in a dark-toned wooded landscape against the backdrop of a leaden sky: we are in the moment before Diana and her nymphs discover Actaeon, who are bathing in a pool of water. The goddess is in a central position, on her back, half-naked: we recognize her by the small moon she wears in her hair and the quiver placed behind her, as well as by her scarlet robe; a nymph offers him a wreath but the goddess seems to be pointing at something in the clearing, and the other nymphs and satyrs turn to look in the same direction, where Actaeon is hidden. The scene is animated by numerous characters and a white goat in the foreground. The subject is taken from Ovid's "Metamorphoses": Actaeon surprises the goddess Diana and her nymphs while they are bathing in the water, and the goddess punishes him for seeing her nakedness by turning him into a deer and having him mauled by her dogs. The Utrecht School or painting in Utrecht is a reflexive painting tradition, to some extent a characteristic feature peculiar to the period from 1580 to 1630, inspired by most Dutch villas and marked in particular by one artist-Abraham Bloemaert-and one movement-the Caravaggio School. For centuries the "center of pictorial art," Utrecht played a leading role in this field in the northern Netherlands in the 15th and 17th centuries. Within the Utrecht School emerged the genre known as the "Italizzanti," a group of Northern European painters, most of them Dutch, who traveled to Italy and adopted a style and technique similar to those of the Italian landscape painters of the period. These painters stayed for a long time in Italy, particularly in Rome, and worked there. The Italianists' paintings show imaginary hillside landscapes bathed in a clear, often golden light imported from Italy, which plays a prominent role in these works. They are populated by small characters who, in the case of the first generation of these artists, participate in scenes depicting mostly biblical, mythological or literary subjects. The most important of these painters was Cornelis Van Poelenburgh (1594/1595-1667), whose style was followed by Dirck Van der Lisse (1607-1669), Abraham Van Cuylenborch (c. 1620-1658) and Charles De Hooch (died 1638) ). Abraham Van Cuylenborch in particular has similarities with our painting: the dark background, the mythological subject matter often related to Diana and her nymphs, and the presence of animals. Many examples include: "Diana and Actaeon," formerly in the Conrad Bugge collection, now in the Norwegian National Gallery in Oslo; "Diane and Her Companions" Royal Gallery of Art in The Hague; and many others. We can therefore attribute our painting with certainty to his circle, to a painter very close to him and who took so much of his style. Ottimo stato conservativo, già rifoderato. Secondo le informazioni fornite dai precedenti proprietari, il dipinto è stato pulito circa vent'anni fa. In 18th-century Italian neoclassical giltwood frame. Il dipinto è accompagnato dal nostro expertise in quanto periti esperti specializzati nella pittura antica.

Creation Year:
1640
Dimensions:
Height: 32.88 in (83.5 cm)Width: 42.52 in (108 cm)
More Editions & Sizes:
tela cm 97 x 73Price: $6,247
Medium:
Oil,Canvas
Movement & Style:
Dutch School
Circle Of:
Abraham van Cuylenborch (1620 - 1658)
Period:
Mid-17th Century
Condition:
Gallery Location:
Pistoia, IT
Reference Number:
1stDibs: LU2746214494962

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