Workshop of the Master of the Female Half-Lengths
(active in Antwerp 1500–1530)
The Suicide of Lucretia,
oil on panel, 59 x 49 cm, framed
To this day scholars have failed to clarify the identity of the so-called Master of the Female Half-Lengths. His ‘notname’ derives from the painter’s favourite subject matter: graceful ladies in exquisite garments, whom he usually depicted down to the waist. In his small-scale paintings, the women all share the same heart-shaped face and gentle demeanor. The artist’s output follows in the wake of the painting tradition of Bruges exemplified by Adriaen Isenbrant and Ambrosius Benson, but it also reveals the influence of the Antwerp painter Joachim Patinir. It is reasonable to assume that the painter trained in Bruges and in the first decade of the sixteenth century moved to Antwerp, where he ran a flourishing workshop.
In proportion to his genre-like scenes depicting female half-length figures reading, singing, or making music, religious themes are rare in the artist’s oeuvre. Another version of the present painting – of much weaker quality and given to the Master’s hand in full – is in the Detroit Institute of Art (inv. no. 58.290).
Expert: Dr. Alexander Strasoldo
Dr. Alexander Strasoldo
+43 1 515 60 403
old.masters@dorotheum.com
10.11.2022 - 17:16
- Dosažená cena: **
-
EUR 9.351,-
- Odhadní cena:
-
EUR 10.000,- do EUR 15.000,-
- Vyvolávací cena:
-
EUR 8.000,-
Workshop of the Master of the Female Half-Lengths
(active in Antwerp 1500–1530)
The Suicide of Lucretia,
oil on panel, 59 x 49 cm, framed
To this day scholars have failed to clarify the identity of the so-called Master of the Female Half-Lengths. His ‘notname’ derives from the painter’s favourite subject matter: graceful ladies in exquisite garments, whom he usually depicted down to the waist. In his small-scale paintings, the women all share the same heart-shaped face and gentle demeanor. The artist’s output follows in the wake of the painting tradition of Bruges exemplified by Adriaen Isenbrant and Ambrosius Benson, but it also reveals the influence of the Antwerp painter Joachim Patinir. It is reasonable to assume that the painter trained in Bruges and in the first decade of the sixteenth century moved to Antwerp, where he ran a flourishing workshop.
In proportion to his genre-like scenes depicting female half-length figures reading, singing, or making music, religious themes are rare in the artist’s oeuvre. Another version of the present painting – of much weaker quality and given to the Master’s hand in full – is in the Detroit Institute of Art (inv. no. 58.290).
Expert: Dr. Alexander Strasoldo
Dr. Alexander Strasoldo
+43 1 515 60 403
old.masters@dorotheum.com
|
Horká linka kupujících
Po-Pá: 10.00 - 17.00
old.masters@dorotheum.at +43 1 515 60 403 |
| Aukce: | Obrazy starých mistrů II |
| Typ aukce: | Online aukce |
| Datum: | 10.11.2022 - 17:16 |
| Místo konání aukce: | Wien | Palais Dorotheum |
| Prohlídka: | 22.10. - 09.11.2022 |
** Kupní cena vč. poplatku kupujícího a DPH(Země dodání Rakousko)
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