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17th Century, Flemish Painting Oil on Copper with Allegory by Pieter Van Lint

Name: 17th Century, Flemish Painting Oil on Copper with Allegory by Pieter Van Lint
Brand: Peter Van Lint
Price: 80701.35 CHF
Availability: InStock
Rating: 5 (7 reviews)

About the Item

Pieter Van Lint (Antwerp, 1609-1690) Allegory of industriousness leading to peace and abundance Oil on copper; frame measures cm H 132 x W 159 x D 8, copper measures cm H 104 x W 130 Artwork signed (bottom center) "P.V. Lint F./ en A.B" The important and valuable painting, made of oil on copper, depicts the Allegory of industriousness that leads to peace and abundance. The work is signed in the bottom and center "P V Lint", or Pieter Van Lint (Antwerp, 28 June 1609 - Antwerp, 25 September 1690), famous Flemish painter and designer active in Antwerp in the second half of the seventeenth century. Van Lint elaborates a complex and articulated composition in which he inserts several figures also drawn from mythology to propose the allegorical message of industriousness that leads to peace and abundance. The artistic style of the author is characterized by meticulous realism and by the careful attention to detail and the rendering of the materials that make up the objects described. As we will see later, every detail represented within the work contains a symbolic and allegorical meaning that reinforces the message that already the same figures express. The remarkable dimensions of the copper support, not so infrequent in the artistic production of the artist, contribute to make the work of great value: Unfortunately, many of these artifacts have been lost because copper was often recovered in times of war and famine, and reused to obtain weapons and common tools. The copper foil proved to be ideal for oil painting because it constituted a non-absorbent support, rigid, smooth and characterized by the same reddish coloring that was used for the preparation of funds. The major production centers were Antwerp, Hamburg and Amsterdam, although the technique was widely used in Italy. The considerable cost of the material indicates a wealthy client, interested in possessing a valuable and durable work over time, this characteristic that the metal foil has more than the canvas. The painting is known to scholars. It is recorded in the catalog of the artist of the RKD Netherlands Institute for Art History (with measures 104 x 129 cm). He also appeared on the French antiques market in 2013 as an authentic work of Peter Van Lint, with the title Minerve recevant la Paix et l'Abondance. On the back, a card documents a passage of the painting in the Hungarian territory. Today it is kept in the Italian private collection. The painting, symbolically representing the celebration of the industrious life in peace and prosperity, sees in the center placed the goddess Minerva (the Greek Athena), seated in front of a richly laid table. Minerva is depicted according to iconographic tradition, with the appearance of a young warrior virgin, wearing the long Greek robe (chiton) and, on the chest, the pectoral armor (aegis) decorated by the head of Medusa. She wears a feathered helmet and is armed with a spear. Roman divinity of the loyalty in struggle, of the heroic virtues, of the just war, but also of the wisdom, of the strength, is protector of the artisans. The observer’s attention is immediately captured by her figure; however, the goddess looks to her right, inviting her to follow her to pay attention to the two handmaids who come before her. They are allegorical figures of Peace and Abundance. The first, on the extreme left of the observer, is recognizable by the olive branch that gently holds in his hand while he looks back at Minerva. She is dressed in a long tunic surrounded by a ribbon and has her head adorned with an olive wreath, a plant symbol of life and rebirth, always considered an emblem of peace. The second girl hands a tray full of fruit towards the table where the goddess sits but her gaze is turned towards the male figure sitting in front of her. A beautiful and prosperous young woman, she is dressed in a tunic that falls gently from her right shoulder showing her nakedness. A green and draped mantle, preciously edged by a silver embroidery, wraps her side. The head is adorned with a rich crown of flowers and ears of wheat that recall agricultural fertility. Earrings and pearl necklace frame the face and refer to well-being. At his feet a red apple, a pear and some ears of wheat strengthen the theme of abundance and fertility. The male figure reciprocates the gaze of Abundance by extending her left hand as if to pay homage to her. Dressed in antique style, without shoes and with a voluminous red drapery that rests on the right shoulder, a young, athletic and strong body, she has wavy hair and a dark beard with typically virile features. He is identified with the ancient Roman god Vulcan (Hephaestus in Greek mythology), lord of fire and metalworking. In fact, he sits on a large forged metal base and has stored the tools for working the earth that he himself has prepared. Among the tools, in addition to a hammer and sickle, you can recognize the corrected, agricultural tool once used by farmers for the beating of wheat, which therefore is linked to the figure of Abundance. Vulcan rests his right hand on the head of a great ox, certainly a reference to the working of the fields, but also animal closely related to the figure of Vulcan in Cretan mythology: as God of fertility, sometimes was the sacred bull, who in the Cretan myth joined Pasiphae generating the Minotaur. In a more backward position, but certainly no less important, appears the titan god Saturn/ Time (the Greek Kronos or Kronos), represented as by iconographic tradition as an elder with a long beard, dressed in a toga, while he holds with one arm the hourglass to symbolize the passage of time while with the other hand he holds the scythe with which the mythological tradition tells he evicted his father Uranus to punish him of the cruelty manifested towards his descendants. Titan of fertility and agriculture, is the personification of time. A young Moor observes the passage of time, strengthening with his physiognomy the concept of industriousness on which the entire iconographic program is based. Two plump cherubs, with colorful wings and clear Rubensian inspiration, flutter gracefully above the figures described; one of them contributes to bring a branch and an olive wreath as a symbol of peace and abundance. The scene is set in a hall of a majestic architectural building of classic taste, with porch and fornixes in addition to which you can see a landscape with large trees and a blue sky marked by some vaporous cloud. Two large telamons, high relief figures, adorn the walls of the hall. This is Hercules (Herache in Greek), on the left, recognizable by the skin of the Nemean Lion that defeated during the twelve mythical labours. On the right is Onfale, a Greek mythological figure closely related to the legend of Hercules. She appears as a queen of Lydia and Hercules went to her service, joined her, and descended from their children the dynasty of the kings of Lydia. The balanced and harmonious overall composition returns an idyllic atmosphere of great expressive intensity. The cultured iconographic program is supported by the exchange of views between the figures that relate to each other allowing the viewer to grasp the allegorical message that goes to enhance the work to reach peace and abundance. A characteristic of the painter’s production, the chromatic palette used is composite and bright, in which some saturated colours prevail, such as crimson reds. The painting is accompanied by a frame in carved wood and gilded not coeval. There is another autograph work by Pieter Van Lint, also made on copper, which proposes the same subject, the Allegory of Work awarded by Peace and Abundance, although with some compositional and chromatic variations. This second copper, smaller than the painting under study, appeared on the antique market in pairs with pendant depicting Apollo and Daphne. Van Lint chose several times the copper support that allowed him that luminous rendering and meticulous details that he liked to introduce in his works. [… ] Pieter van Lint was born in Antwerp on 28 June 1609. [... ] A versatile artist of great skill, he painted historical, mythological, pastoral and genre scenes and, on commission, he also painted portraits and cartoons for tapestries. In addition to religious commissions, the artist created numerous small genre scenes, in the style of the Bamboccianti. After his trip to Italy, where he studied antiquity, some works are characterized by a marked interest in the classicism of architecture and figures. It is therefore possible to assume that the painting in question may have been conceived after the Italian stay. We apologize for any translation errors. Please contact us to have the expertise in Italian.

Creator:
Peter Van Lint (Painter)
Dimensions:
Height: 51.97 in (132 cm)Width: 62.6 in (159 cm)Depth: 3.15 in (8 cm)
Style:
Baroque (Of the Period)
Materials and Techniques:
Copper,Hand-Painted
Place of Origin:
Belgium
Period:
Mid-17th Century
Date of Manufacture:
Mid-17th Century
Condition:
Wear consistent with age and use. There are some restoration of the painting in the nineteenth and twentieth century.
Seller Location:
IT
Reference Number:
1stDibs: LU4405240656972

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