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Anonym Jan Harmenz. Muller, Stecher Diego Rodríguez de Silva y Velázquez, ehemals zugeschrieben
Das Gastmahl des Belsazar / Belshazzar's Feast, 17. Jahrhundert
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Anonym Jan Harmenz. Muller, Stecher Diego Rodríguez de Silva y Velázquez, ehemals zugeschrieben

Das Gastmahl des Belsazar / Belshazzar's Feast, 17. Jahrhundert

Anonym Jan Harmenz. Muller, Stecher Diego Rodríguez de Silva y Velázquez, ehemals zugeschrieben

Das Gastmahl des Belsazar / Belshazzar's Feast, 17. Jahrhundert

The drawing pictures the feast of Belshazzar. It is a study after an etching by Jan Muller that borrows from a painting by Frans Francken the Younger.[1]
The work was clearly cropped at the top and on the right, suggesting a desire to match it to the print. The artist first sketched the figures in light black lines, then organized them with seemingly flowing brushstrokes, at the sam time creating their volumes. The positions of the heads in the back row to have been corrected in red chalk.[2] Altogether, however, the artist was, greatly interested in the figures; he was more concerned with the organization of a scene with a large table.
The drawing was formerly attributed to Diego Velázquez on the basis of the inscription. Diego Angulo Iñiguez and Alfonso Pérez Sánchez presented it as anonymous and were inclined to consider it not Spanish, while Benito Navarrete Prieto believes it to be the work of an artist from Madrid.
A drawing in the Musée du Louvre[3] that came from the collection of Frank Hall Standish has a “Belazquez” inscription very similar to the one on the present sheet.

Jens Hoffmann-Samland


1. The Illustrated Bartsch, vol. 4.1 (265), 444: see Navarrete Prieto, Zapata Fernández de la Hoz and Martinez Ripoll 2008, 19 and fig. 10; Dückers 1994, 191.
2. See a similar correction" in inv. no. 38488, cat. no. 98.
3. Portrait of a Standing Painter (Portrait de peintre de pied), 75/8 x 4 3/16 in. (194 x 106 mm), Paris, Musée du Louvre, inv. no. 18478.

 

Details zu diesem Werk

Beschriftung

Unten in der Mitte bezeichnet: "Belazquez" (Feder in Braun); oben links schlägt eine Beschriftung des Versos durch: "162/ [...] (m)edieron" (Feder in Braun?)

Provenienz

[José Atanasio Echeverría]; Julian Benjamin Williams, Seville (d. 1866); John Wetherell (?) (d. 1865); Horatio/Nathan Wetherell (?) (until 1874); Frederick William Cosens, London (from 1874 to 1890); Sotheby's, London, auction of the property of Frederick William Cosens (from November 11 to 21, 1890); Bernard Quaritch Ltd., London (from November 1890 to July 1891); acquired by the Hamburger Kunsthalle (July 14, 1891).

Bibliographie

Jens Hoffmann-Samland, with contributions by María Cruz de Carlos Varona, Gabriele Finaldi, José Manuel Matilla u. a.: The Spanish Gesture. Drawings from Murillo to Goya in the Hamburger Kunsthalle, Madrid 2014, S.263-264, Abb., Nr.192

Benito Navarrete, Teresa Zapata, Fernández de la Hoz, Antonio Martínez Ripoll: Fuentes y modelos de la pintura madrileña, Madrid 2008, S.21, Abb.11

Angulo Íñiguez and Pérez Sánchez: A Corpus of Spanish Drawings, vol. II Madrid School 1600 to 1650, hrsg. von Harvey Miller Publisher, 1977, S.63, Nr.348, Abb.pl. LXXXVII