Circle of Hendrick ter Bruggen, Female Portrait

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Circle of Hendrick ter Bruggen, Female Portrait
XVII Century

About the Item

First half of the 17th century, circle of Hendrick ter Brugghen (1588-1629) Female Portrait Oil on canvas, 66 x 48 cm With frame 86 x 68 cm This female portrait comes from the circle of artists close to Hendrick ter Brugghen (1588-1629), a Dutch painter who was born in The Hague but soon moved to Utrecht, the city where he would grow artistically through the teachings of master Abraham Bloemaert. The place, however, that would definitively forge his artistic personality would be Rome, where he went for good twice, thus coming into contact with the works and followers, including Orazio Gentileschi and Giovanni Serodine, of Michelangelo Merisi known as Caravaggio. The masterpieces left by Merisi in the eternal city would inspire both ter Brugghen and other Flemish artists of his contemporaries, such as Gerard van Honthorst (1592-1656) and Dirck van Baburen (1595-1624), with whom he shared a studio for some time, who would go on to form the so-called Utrecht Caravaggists; shared by their geographic origin, their Roman journey, and their choice to follow the canons and subjects of Caravaggio, these, along with other painters, would focus on strong chiaroscuro contrasts, the realism of subjects presented against a monochrome background, and the close-up cut of the scene. All these characteristics are found in the woman portrayed here, a close relative of the female figure at the center of the composition painted by ter Brugghen in 1623: the Unequal Couple, now in a private collection. The subject would harken back to the grotesque couples depicted in Nordic painting also in centuries past by great masters such as Quinten Metsys or Lucas Cranach the Elder; the ambiguity and promiscuity of the image might also hint at another theme dealt with by Flemish art of the time: that of the mezzanine, that is, a subject alluding to prostitution and the triviality typical of the taverns of the city suburbs of Holland and Flanders. This realism, so stark and ungainly, fully connects with the boys in Bacchus's robes portrayed by Caravaggio or the canvases related to the theme of good fortune or cheats. The vices, shady environments, and crude but truthful characters are found here as well as in the religious canvases, where the Caravaggesque stylistic canons are maintained and likewise the sacred episodes; in fact, the scenes and events painted by the master recur in the production of the Dutch: the Vocation of St. Matthew, the Incredulity of St. Thomas, or the series of St. John the Baptist. Of the three characters of the unequal pair here only the protagonist remains, cut off at chest height by a balustrade that hides her breasts, clearly visible in the other version. Instead, the caricatured expression, distorted into a winking grin by alcohol fumes, is mirrored with exceptional accuracy and brings out the disruptive realism in the details of wrinkles, high forehead, and yellowed teeth. A reality, then, that is presented to us without too many frills and that manages to transport us to the world from which this woman, no longer young, lived; the cut of light emphasizes the imperfections without blunting the lines of the face, which is so true as to be introspective. The light warms a dark, monochromatic environment, similar to those of Caravaggio, thus focusing attention on the woman who almost seems to want to converse with the viewer through a faint gesture of her hand resting on the balustrade; the intensity and at the same time the lightheartedness of her gaze are masterfully rendered and draw the viewer's attention to the work.

Creation Year:
XVII Century
Dimensions:
Height: 26.78 in (68 cm)Width: 18.9 in (48 cm)
More Editions & Sizes:
66x48 cmPrice: $12,246
Medium:
Canvas,Oil
Circle Of:
Hendrick Ter Bruggen (Dutch)
Period:
17th Century
Condition:
Gallery Location:
Milan, IT
Reference Number:
1stDibs: LU2639215786922

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