Pair of Oil Paintings of Diana's Departure for the Hunt and the Bath of Diana

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Pair of Oil Paintings of Diana's Departure for the Hunt and the Bath of Diana
Circa 1650

Name: Pair of Oil Paintings of Diana's Departure for the Hunt and the Bath of Diana
Brand: Unknown
Rating: 5 (3 reviews)

About the Item

This pair of oils on copper is typical of the Antwerp School production of the mid-seventeenth century. Inspired by the work of Rubens, these two paintings have each a very specific pictorial style, but due to their common theme (the hunt and the story of Diana) and their identical format, they constitute a very decorative pair. 1. Peter Paul Rubens and his influence on the Antwerp School Peter Paul Rubens was born in Siegen in Westphalia (Germany) on 28 June 1577 after his parents left Antwerp. His father, a Calvinist sympathizer, had been appointed alderman of Antwerp in 1562 and sought to escape the persecution of Protestants by the Duke of Alba in the Spanish Netherlands. Rubens returned to Antwerp with his mother in 1589, two years after the death of his father, and received a humanistic education, learning Latin and Greek in particular. He chose to become a painter and trained first with Tobias Verhaecht and later with Adam van Noort and Otto van Veen. After completing his training he entered the Guild of Saint Luke as an independent master in 1598. He then left for Italy and stayed mainly at the Gonzaga Court in Mantua, from where he visited Florence and Rome. He then travelled for his first diplomatic mission to Spain to King Philip III. He returned to Antwerp in December 1608 shortly after his mother's death. In the meantime, he now spoke French, Spanish, Italian and German. He became the official court painter to the Archduke Albert of Austria (1559-1621), the youngest son of Emperor Maximilian II, who was married to his cousin, the Infanta Isabella-Claire-Eugenie of Austria (1566-1633), daughter of King Philip II of Spain, and received permission to set up his studio in Antwerp rather than in Brussels and to continue working for other clients. In 1609, he married Isabella Brant with whom he had three children. The success of his painting brought him great financial ease which enabled him to move into a new house, the Rubenshuis, (now transformed into a museum) in which he set up his art collections, his studio and a large library. This studio is certainly one of the most important in the history of painting since it is estimated that more than a hundred painters frequented it. His drawings were also the subject of engraved reproductions which ensured the spread of his influence far beyond his studio. Rubens combined artistic fertility with intense diplomatic activity, criss-crossing Europe with commissions and diplomatic missions. Rubens enjoyed an unparalleled social position as the confidant and messenger of the crowned heads. He was ennobled by Philip IV of Spain and knighted by Charles 1st of England. While his first wife died in 1626, Rubens got remarried in 1630 to Hélène Fourment, 37 years his junior, with whom he had five more children before dying of gout in 1640. A multifaceted artist, Rubens left an immense body of work for which it is often difficult to make a precise distinction between autograph elements, collaborative works and works executed under his supervision. Rubens employed and trained a large number of painters in his studio (some of whom would go on to become great masters themselves such as Antoine van Dyck). He also frequently collaborated with other Flemish masters, leaving them to realise the parts they mastered best (such as Paul Bril or Jean Breughel the Elder for landscapes, or Frans Snyders for animals). 2. Description of the works Our two oils on copper both represent Diana, Goddess of the Hunt, accompanied by her nymphs. Let's start by describing “Diana's Departure for the Hunt”. Diana, recognisable by the crescent moon on her tiara, is holding a spear with a red pompom and caresses a greyhound with a sinuous body. Two other dogs accompany her, as well as two nymphs, one of which has already grasped a bow and raised her skirt in order to be able to follow Diana on her fast run. In a slightly naughty detail, a third nymph, bare chested, receives forceful attention from a bearded satyr with a muscular body and deer legs. On the right side of the picture, we can also sense the head and the left arm of a second satyr - without knowing whether he is saluting Diana or trying to hail her two companions. The very low sun on the horizon suggests it is early in the morning, ideal for setting off for a hunt. The subject can be related to a very large painting (216 x 178.7 cm) thought to date from the early days of Rubens’ studio in 1615. It is now in the Cleveland Museum of Art. Another equally monumental studio version (287.5 x 183.8 cm), very similar and datable to 1627-1628, is exhibited at the Getty Museum. Our painting follows the same decorative scheme by introducing a depth of field to compensate for the reduction in size of the work, in order to preserve a certain monumentality. While the characters are the same, and our painting takes up the dominant colours, its composition is much more airy and now opens up on the right onto a country perspective. The dissociation of the group of characters makes it possible to reveal the body of the nymph placed next to her companion, a body that had hitherto been hidden by that of the goddess, and to round off the chromatic symphony with the bright orange of her dress. This new distancing of the figures results in a mechanical lengthening of the body of the greyhound, whose hind legs have remained fixed in relation to the group formed by the satyr and the nymph, but whose body is lengthened by the distance to the goddess. The painting of the characters, in which the influence of Teniers can be seen, is of great finesse. The painting takes up an amusing detail already present in Rubens' paintings: the feet of the nymph on the left are lifted up by the vigour of the satyr's assault. Our second painting “The Bath of Diana”, a symmetrical composition with a vanishing point this time to the left, shows the moment when Diana, while bathing in what we imagine is a basin at the foot of a fountain, is caught naked, surrounded her companions, by the hunter Acteon who we can see on the left. All her attendants are busy trying to cover up the infuriated goddess, recognizable once again by the crescent moon on her tiara. The composition and polychromy in our painting remain very faithful to the works of Rubens. In a beautiful late afternoon light, the blue dress of the nymph displayed from the back, the red of the coat thrown onto the goddess, bring out the softness of the nymphs’ complexions. The glass jug, the comb, the brush and the bowl form a refined still life at the feet of the goddess. The group of five figures on the right can be found directly in a large painting by Rubens (152.5 x120cm) dating from the end of the artist's career (ca. 1635-1640) and which is exhibited at the Boijmans van Beunigen Museum in Rotterdam. The entire composition appears in another painting copied from Rubens, in a smaller format (0.49 x 0.75 cm), belonging to the Louvre Museum . It is possible that our copper sheet has been cut at the sides (at the level of the figure of Actaeon on the left and to the right of the nymph crouching at the feet of the goddess) to match the size of the painting depicting Diana's Departure for the Hunt.

Creation Year:
Circa 1650
Dimensions:
Height: 18.31 in (46.5 cm)Width: 14.69 in (37.3 cm)
Medium:
Copper,Oil
Movement & Style:
Flemish School
Period:
Mid-17th Century
Condition:
The size is slightly different by a few mm from one to another Price indicated is for the pair Size with the frame : 55 x 46 cm Provenance : French private collection The paintings have been restored - condition report available on request.
Gallery Location:
PARIS, FR
Reference Number:
1stDibs: LU156828230182

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