By continuing to use our sites and applications, you agree to our use of cookies. Combined with the ‘rediscovery’ of the Flemish primitives this led to a burgeoning enthusiasm for the collecting of early German and Netherlandish art. 20% off all wall art! The decorative architectural backdrop is evidently based on the examples of the Master of 1518, visible in the Lübeck Altarpiece and even the festoon, held by two putti, as was initially planned for the Adoration, is visible in paint in the background of the Betrothal of the Virgin.
Vermeyen with Pieter Coecke van Aelst, circa 1546–1550, woven in Brussels, 1550–1552 Often Coecke played the part of the impresario, orchestrating all choices of line and color.
The young Pieter Coecke in the Studio of the Master of 1518The Adoration of the Magi is in fact a youthful work by Pieter Coecke van Aelst, who probably finished his training with Bernard van Orley in Brussels, before he came to Antwerp, where he married Anna van Dornicke, before 1526 and became a citizen of Antwerp automatically.
In the first arrangement of our Adoration of the Magi, it appears that a ladder was foreseen to the left of the cave entrance, a rather puzzling idea that was abandoned in favour of the present stone staircase. Oben dreieckig, ursprünglich wohl geschweift. This sale was recorded (with the panel at that time being listed as a work by Lucas van Leyden) in an annotated copy of the 1840 auction catalogue, formerly owned by the treasurer of the King’s estate, now in the archives of the RKD. Noted by contemporaries and early art historians, Lodovico Guicciardini called him ‘great’. The Christ Child itself is a good example to demonstrate this. Shortly after William’s accession, he acquired the present Adoration of the Magi from Lambert J. Nieuwenhuys, for 3300 guilders. Technical analysis by Gianluca Poldi: Many non-invasive spectroscopic measures were carried out to study the pigments. The IRR displays the underdrawings of the composition, applied with brush and black paint on what appears to be a layer of lead white on top of the ground. XI, p. 76, no. An example of which can be seen in the complicated composition of the Basel picture, with the enormous dynamic of the figures engaged in the procession, far removed from Coecke’s beginnings with the Master of 1518. Specialist: Damian Brenninkmeyer
The artist chose azurite as the only blue, used together with lead white in different proportions for the sky, the mountains, the various blue clothes including the deep blue of the Virgin Mary’s cloak.
1010 Wien, Dorotheergasse 17, Phone +43-1-515 60-0
Auction finished, Palais Dorotheum ConclusionThe Adoration of the Magi is the centre panel of a triptych, from which the wings, as so often, were separated in the past. The original shape of the top of the panel was altered as well. USD ($), Copyright © 2020 FineArtAmerica.com - All Rights Reserved, God the Father with the symbols of the fourth apostles tetramorphos know as The Trinity Canvas Print, Eleven worshipers with St James the Greater Canvas Print, Celebration Of A Circumcision Canvas Print, Pieter Coecke van Aelst the Elder Canvas Print, Coecke Van Aelst, Pieter 1502-1550 Canvas Print, San Juan evangelist with two ladies and two girls Canvas Print, Triptych With Adoration Of The Magi, Workshop Of Pieter Canvas Print, The Temptations Of Saint Anthony Abbot Canvas Print, COECKE VAN AELST, PIETER Aalst Belgica, 1502 - Bruselas, 1550 Saint James the Greater with Donors in Canvas Print, 'The Temptations of Saint Anthony Abbot'. Following the Belgian revolution, William’s collection in Brussels was held hostage until 1840, when he had succeeded his father as King of the Netherlands. We are grateful to Peter van den Brink for attributing the present painting to Pieter Coecke van Aelst, and for his assistance in cataloguing this lot. Henri de Fromantiou, circa 1670 - 1680.
Used by Google Tag Manager in order to control the loading of the Google Analytics Script Tag. In the Lübeck altarpiece underdrawing and painting seem to be two different sides of the coin, two separate parts of the genesis of the altarpiece, not necessarily executed by the same artist. The colour pattern is strikingly similar and so are the elongated figures, for example Balthasar with his counterpart in the Lübeck Adoration of the Magi. By contrast, the painter of the Adoration of the Magi placed his figures in different planes of the composition and tried to give them more volume and plasticity. GBP (£) However, the figures of the Master of 1518 show his preference for a two-dimensional presentation, as can be seen in its most extreme form in the Magdalene of the Crucifixion triptych in the Holy Blood Museum in Bruges. In painting the scene, the artist decided to show a more restrained Christ Child, since greed is hardly a virtue. The facial type and even the slightly sad expression of Melchior, to the right of our Adoration, is literally repeated in the figure of the High Priest in the The Presentation of Christ in the Temple.