Beschreibung:

SCHOOL OF ANTHONY VAN DYCK (17TH CENTURY) The Penitent Magdalene Oil on canvas, 125 x 101cm Several versions of a now lost original of this composition by Van Dyck have been published, including one in Susan Barnes 'Van Dyck: A Complete catalogue of the Paintings', III.A9, page 403. Anthony van Dyck (1599-1641) was born in Antwerp and grew to become a prolific painter, revered both in his own country and abroad. A precocious talent, van Dyck was employed as a studio assistant for Peter Paul Rubens and it was here that he truly mastered his ability. Whilst aiding with Rubens work, van Dyck also took on his own commissions. At the time, much of the wealth was held by the church and, as such, many of his works were of religious subjects. Circa 1620, just as van Dyck was finishing in Rubens studio, the artist undertook to paint The Penitent Mary Magdalene which is now held in the Rijksmuseum. The subject of Mary Magdalene was popularised in the 16th century as part of the Counter Reformation. During a period when many were questioning Catholic power, religious bodies adopted the image of the Magdalene in a hope of inspiring religious devotion amongst their congregations. Coming to Christ as a prostitute, Magdalene was the ultimate depiction of salvation through adoration. Portrayed as a wretched figure, the image of the saint worked to remind people that forgiveness and eternal life would reward spiritual dedication. Van Dyck approached this commission with Northerly flare, half draping his masculine figure with a crisply sculptured cloth. As with Flemish art of the period, his scene is picked out with hard, clear lines and his figures bear the characteristic pointy features that are so often seen in works by Rubens. Though by the same artist, this work seems far removed from the soft portrayal of the repentant saint depicted in the current lot. In 1621, van Dyck chose to expand his artistic training and travelled to Italy where he was to spend the next six years. Arriving in Venice, his art fell under the influence of the Venetian School and its great master, Tiziano Vecelli. Numerous copies of Titians works were made by van Dyck, with a sketchbook of his (now housed in the British Museum) containing just under sixty imitations of his works, with careful annotations made as to composition and colour used. Van Dyck took his admiration further and undertook full oil paintings after the master, as can be seen in his rendition of Titians Magdalene in the York Museum, England. In this image, van Dycks Magdalene is transformed into a humble portrayal of female deference. Gone are the harsh lines of his Northern roots and, instead, his painting is filled with the sumptuous flowing lines of womanly flesh. It is, thus, without surprise that we find Titians influence in the current lot. As an artist who constantly revisited this subject matter throughout his career, a second work by Titian depicting the Penitent Magdalene (Hermitage Museum, St. Petersburg) is seen as bearing significant resemblance to this portrayal by van Dyck. Unlike the work previously mentioned, this rendition is not a slavish copy but, rather, a homage to a respected artist. Certain compositional aspects seem to have been borrowed directly from Titian, such as the looming rock to the left and the clear delicate tree to the right, each working to frame their subject in the centre. As with Titians piece, the Magdalene is accompanied by a skull and an open bible, her anguished face lifted and gazing to the right in adoration and imploration of the Heavens. Despite being the work of a Flemish painter, we can see van Dycks total embrace of the Italian painting style in this work. The careful use of sfumato blends his figure with her background and the Italianate landscape evokes a romanticism formerly unseen. Though van Dyck did not adhere to his change in style and future works lapse back into his Northern training, there is no doubt that Italy held immense influence ove