Party Scene-Attributed to Jan Miense MOLENAER (1609-1668)

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anticSwiss 30/09/2021 02:37:22 http://www.anticswiss.com Party Scene-Attributed to Jan Miense MOLENAER (1609-1668) SOLD ANTIQUE DEALER Period: 17° secolo -1600 Caudroit Troyes Style: Rinascimento, Luigi XIII +33662098900 Length:105cm Width:87cm Material:olio su tela Price:5800€ DETAILED DESCRIPTION: Beautiful party scene in an interior by one of the masters of the genre. Canvas 90 cm by 70 cm Beautiful frame of 105 cm by 87 cm Jan Miense MOLENAER (1609-1668) Jan Miense Molenaer (circa 1610 in Haarlem, the Netherlands - buried September 19, 1668 in Haarlem) is a Dutch baroque painter (Provinces -Unies) of the golden age, best known for its genre scenes. He was the husband of the woman painter Judith Leyster. Jan Miense Molenaer was born in Haarlem between 1609 and 1610. In the studio of Frans Hals he was trained in painting, along with Adriaen Brouwer and Adriaen Van Ostade. On June 1, 1636, he married the painter Judith Leyster. The same year, the couple moved to Amsterdam where they had four children: Johannes (1637), Jacobus (1639), Helena (1643) and Eva (1646). In 1648, they come to settle in Haarlem, where was born in 1650, their fifth and last child: Constantijn. Jan Miense Molenaer opens a workshop in which he employs a few apprentices. He is also active as an art dealer and in real estate. In 1659, Jan and his wife both fell ill. Jan Miense Molenaer heals, but Judith Leyster was to die three months later. Molenaer dies in Haarlem in 1668 and is buried on 19 September The pictorial style of Jan Miense Molenaer and his wife Judith Leyster are often confused, so it is sometimes difficult to distinguish their works. In his early days, Molenaer painted in a style influenced by Frans Hals, but he later evolved to a closer to that of an Adriaen Van Ostade (this is the case of our painting). Molenaer produced mostly genre scenes, portraits, and some paintings of religious subjects. His genre paintings often represent musicians, as is the case for Musicians (Magyar Szépmüvészeti Múzeum, Budapest), the Duo (Seattle Art Museum), or A family of musicians (Frans Hals Museum, Haarlem), or scenes of taverns and play (The Warm Hand). Molenaer was also pleased to place Biblical scenes in settings of his time, for example the Saint Peter's Denial transposed as part of a Dutch tavern (Magyar Szépmüvészeti Múzeum, Budapest) https://www.anticswiss.com/en/fine-art-antiques/party-scene-attributed-to-jan-miense-molenaer-1609-1668--7949 1 / 3 anticSwiss 30/09/2021 02:37:22 http://www.anticswiss.com 2 / 3 anticSwiss 30/09/2021 02:37:22 http://www.anticswiss.com Gallery 3 / 3 Powered by TCPDF (www.tcpdf.org) Powered by TCPDF (www.tcpdf.org).

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The bottom edge and lower left corner are extensively and his followers, including roses, poppies, morning damaged and reconstructed. A small loss is found in the red glories, white lilacs, and stalks of wheat. He also flower at center. Moderate abrasion overall has exposed darker underlayers, altering the tonal balance. The painting incorporates insects: a banded grove snail, two cen was lined in 1969, prior to acquisition. tipedes attacking each other, and a butterfly. In De Heem's still lifes, for example, Vase of Flowers, Provenance: Viscount de Beughem, Brussels; by inheri 1961.6.1, flowers, wheat, and insects are often im tance to Mr. and Mrs. William D. Blair, Washington. bued with symbolic meaning related to the cycle of life or Christian concepts of death and resurrection. THIS DECORATIVE STILL LIFE is one of the few The philosophical concepts underlying De Heem's signed works by this relatively unknown Amster carefully conceived compositions may have been un dam painter. The execution is fairly broad, and the derstood by Van Kouwenbergh, but too little is colors are deep and rich. Van Kouwenbergh has known of his oeuvre to be able to judge this with displayed his floral arrangement around an elaborate certainty. In this painting the rather whimsical earthenware urn situated at the edge of a stone ledge. sculptural element surmounting the urn would seem The composition is organized along a diagonal that to set a tone quite contrary to the weighty messages is not embellished with intricate rhythms of blos De Heem sought to convey. soms or twisting stems.
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University of Cincinnati
UNIVERSITY OF CINCINNATI Date:_May 1, 2006_______ I, __Jennifer Eckman__________________________________________, hereby submit this work as part of the requirements for the degree of: Master in Arts in: Art History It is entitled: “Forbidden Indulgences: A Study of Adriaen Brouwer’s Peasant Scenes, 1631-1638” This work and its defense approved by: Chair: Kristi Nelson, PhD______________ Diane Mankin, PhD_____________ Mikiko Hirayama, PhD__________ ______________________________ __________________________ Forbidden Indulgences: A Study of Adriaen Brouwer's Peasant Scenes, 1631-1638 A thesis submitted to the Art History Faculty of the School of Art/ College of Design, Architecture, Art and Planning University of Cincinnati in partial fulfillment of the requirements for the degree of Masters of Arts in Art History Jennifer Louise Eckman 2006 Thesis Committee Chair: Kristi Nelson, Ph. D. Reader: Diane Mankin, Ph. D. Reader: Mikiko Hirayama, Ph. D. Abstract During the seventeenth century, the Flemish painter Adriaen Brouwer (1605/6-1638) specialized in low-life images of peasants indulging themselves in forbidden activities such as drinking, smoking, and fighting. A unique element of his work is the expressive body gestures and grotesque facial expressions of the figures. Chapter one addresses several questions such as why Brouwer chose this type of genre and whether or not there is symbolic and moralizing meaning incorporated into his work. Chapter two, three, and four are separated by each indulgence – drinking, smoking, and fighting. In these three chapters, I conduct a formal analysis, with a small portion of iconographical interpretation, of a selection of his peasant scenes within the socio-historical context of the Low Countries during the last period of his career, 1631-1638.
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