Anonym Jan Harmenz. Muller, Stecher Diego RodrĂguez de Silva y VelĂĄzquez, ehemals zugeschrieben
Anonym Jan Harmenz. Muller, Stecher Diego RodrĂguez de Silva y VelĂĄzquez, ehemals zugeschrieben
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 Velåzquez on the basis of the inscription. Diego Angulo Iñiguez and Alfonso Pérez Sånchez 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 MusĂ©e du Louvre[3] that came from the collection of Frank Hall Standish has a âBelazquezâ 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 FernĂĄndez de la Hoz and Martinez Ripoll 2008, 19 and fig. 10; DĂŒckers 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.
Â
Details zu diesem Werk
Beschriftung
Provenienz
[JosĂ© Atanasio EcheverrĂa]; 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 MarĂa Cruz de Carlos Varona, Gabriele Finaldi, JosĂ© 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, FernĂĄndez de la Hoz, Antonio MartĂnez Ripoll: Fuentes y modelos de la pintura madrileña, Madrid 2008, S.21, Abb.11
Angulo Ăñiguez and PĂ©rez SĂĄnchez: 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