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Lot 21
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Result : 64 400EUR
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Jacques de l'ANGE (Antwerp in the early 17th century - Naples or Sicily around 1644) The Martyrdom of Saint Lawrence Canvas. 221 x 170 cm Provenance : - Muratori Collection, Rome, 1976; - Anonymous sale, Rome, Galleria d'Arte Bernini, March 21, 1977, n°129 reproduced (follower of Stomer). Bibliography : - B. Nicolson, Stomer brought up-to-date in "The Burlington Magazine", 119, 1977, pp. 230-245, p. 237, reproduced fig. 19; - C. Klemm, Joachim von Sandrart, Berlin, 1986, p. 328; - B. Nicolson, Caravaggism in Europe, Oxford, 1979, vol. I, p179, reproduced in vol. III, fig. 1577 (Sandrart ?); - B. Schnackenburg, Der Monogrammist JAD Ein neuentdeckter flämischer Maler aus den Jahren um 1640 in Wallraf Richartz Jahrbuch, 1994, pp. 217-218 and 66, no. 21, reproduced fig. 19. - B. Schnackenburg, Jacques de l'Ange, ein flämischer Maler zwischen Jan Cossiers und Matthias Stom, zum Nachtstück in Antwerpen und Neapel um 1640 in Wallraf Richartz Jahrbuch, 2005, p. 125, no. 21, reproduced fig. 25. Rediscovered in 1976 and not seen since 1977, our painting is an important addition to the works of the so-called "Northern Caravaggists". If the Dutch Caravaggists are well known since the exhibitions (Holländische Malerei in neuem Licht, Utrecht and Brunswick, 1987) and the monographs on Honthorst (R. Judson, R. Ekkart, Gerrit van Honthorst, 1999), or ter Brugghen (B. Nicolson, 1958, or lately L. Slatkes and W. Franits, The paintings of Hendrick ter Brugghen, 2007), the Flemish caravaggists are less known, with however the very beautiful exhibition devoted to Theodore van Loon in Brussels in 2019 (Theodore van Loon, 2019). Nothing yet on Abraham Janssens or Theodore Rombouts. The attribution of our painting to a Nordic painter working in Italy was immediate. First Stom was thought of, then Joachim Sandrart, after an idea by Nicolson (Stomer brought up-to-date, opus cit supra, 1977). In any case, our painting is the work of a northern painter working in Italy and especially in Sicily in the years 1630-1640. In 1994 Bernardt Schnackenburg definitively proposed the name Jacques de L'Ange (Der Monogrammist JAD Ein neuentdeckter flämischer Maler aus den Jahren um 1640, opus cit supra, 1994) by comparing it to a Holy Family with Angels (Canvas, 165 x 121 cm, monogrammed lower right JAD) which had just been acquired in 1980 by the Noordbrabants museum in Hertogenbosch. Jacques de L'Ange is mentioned in 1632-33 among the pupils of Jan Cossiers. He probably had a short career (in Naples between 1642 and 1644, the probable date of his death). In Antwerp he was obviously in contact with his master Cossiers, but also with Rubens and his pupils, as well as with Erasmus Quellinus. From this period only seven paintings have been recorded by Schnackenburg. It was in Naples that his art evolved towards a Caravaggism strongly influenced by Ribera, the artist's most prolific period (some fifteen paintings) and the period to which our painting belongs. The influence of the Dutch painter Matthias Stom was decisive, either through direct contact or through the examination of his works (Stom left Naples around 1640, from The Angel Arrives in Naples around 1642). For example, he used a motif from Stom's The Old Woman with a Candle (canvas 71 x 57.5 cm, Dresden, Gemäldegalerie Alte Meister) to paint The Old Woman Weighing Gold in 1642 (Kassel, canvas, 126 x 103.5 cm, see Schnackenburg, opus cit supra, 2005, fig.7 and 8, p.118). In our painting, Stom's influence is visible in certain physiognomies, as well as in the treatment of the lighting, which is typically Caravaggesque, with the martyr bathed in a soft light that contrasts with the disturbing half-light of the rest of the composition.
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