(Langres, around 1608–1667)
The Charlatan,
oil on canvas, 112 x 151 cm, framed

Provenance:
with Julius Weitzner, London, 1975

Literature:
P. Rosenberg/S. Laveissière, Jean Tassel dans les musées français, in: Revue du Louvre, 2 - 1978, p. 125 (mentioned without illustration);
H. Ronot, Richard et Jean Tassel, Peintres à Langres au XVIIème Siècle, Paris 1990, pp. 313-314, no. 121, fig. 89

After Charles Sterling’s exhibition of Peintres de la Réalité in 1934, Tassel was the subject of a monographic exhibition based on the research of Dr. Henry Ronot at the Musée de Dijon in 1955. He is a multifaceted painter who dabbled in almost every genre. Born in Langres in the early 17th century, Jean Tassel is one of those provincial artists who, like Lubin Baugin, Pierre Mignard, Nicolas Chaperon and Sébastien Bourdon, made the trip to Rome before returning home to France and continuing their career in Paris or in their native town. When Tassel arrived in Rome in 1634, Caravaggism (whose last exponent, Valentin, died in 1632) was giving way to the lighter painting of Poussin, Cortona and Tassi, but was still being influenced by the bamboccianti, who took their name from the Dutchman Pieter Van Laer, called il Bamboccio, the inventor of these picturesque scenes – popular scenes usually set in a Roman countryside adorned with ruins. Van Laer was followed by other bamboccianti such as Jan Miel and Michelangelo Cerquozzi. Tassel had occasion to meet both of these painters during his stay in Italy, and their influence is apparent in this composition of the Charlatan.

Under the influence of Northern painting, the theme of the charlatan enjoyed great popularity in Europe during the 17th century. Presented in a picturesque form it reveals the painter’s interest in direct observation of popular life.