Frans Francken II (1581-1642), Follower of - Abraham et Abimelech
- Oil on copper plate. To give the whole piece greater strength and stability, the metal plate has been placed on a wooden frame.
- Specialising in high-quality cabinet painting, mainly with mythological and biblical themes, Frans Francken II incorporated the rich repertoire of Italian mannerism into the typically Dutch component of his painting from the end of the 16th century, achieving scenes of great human dynamism that open up to bucolic Flemish landscapes. In 1605 he joined the Guild of Painters of Saint Luke in his hometown, beginning a career that would last until 1640, in which he specialised as a painter of cabinet works. His contribution to the genre of gallery paintings is very important, influencing artists such as Teniers. His work is based on that of Jan Brueghel de Velours, although it also has obvious influences from his ancestors in the Francken family. The debts of his earliest productions to mannerism and 16th-century painting can be seen both in the structure of the compositions and in the rhythm and expression of his figures. Furthermore, these include obvious allusions to the work of Italian artists such as Raphael, Veronese or Zuccaro. Similarly, the use of prints by Dürer or Lucas de Leyden has been demonstrated for some of his figures. Francken II's rich production can be divided into four stages. The first works denote his initial connection with the painting and style of the 16th century, with high viewpoints and a clear lack of cohesion in the transitions between the different planes. He also uses local colours, especially browns, blues and greens. Characteristic are his figures with large black eyes, achieved through touches of charcoal black, which would continue throughout his career. In a second stage, from 1610 onwards, his palette became lighter, while the themes and interpretations, tirelessly repeated through various replicas, provided him with an immense and easily recognisable pictorial corpus. This is the time of the inclusion of figures, especially stereotyped women, who will be repeated throughout his work. In a third moment, from 1620 onwards, typical male figures wearing turbans or Phrygian caps begin to appear, while his compositions denote a profoundly eclectic character. The general luminosity now reaches its zenith, determining the chromatic scheme of the work, partly influenced by the general harmonisation that was taking place at the same time in history painting in the Flemish school. Perhaps due to this sense of adapting to the novelties in the last phase of his production, from 1630 onwards he varied towards compositions where the local colour would evolve towards general tones, frequently brown, following both the style of Rubens and that of the Dutch painting of his time. He also produced altar pieces, although in no case did he manage to approach the monumentality of Rubens' work.
- In this magnificent painting from around 1620, the primary source is taken from the twentieth chapter of the Book of Genesis, which culminates with the restitution, by the Canaanite king Abimelech to Abraham, of his wife Sarah along with a large volume of gifts in the form of precious metals, servants, and cattle (Gen 20: 14; Then Abimelech took sheep, and oxen, and male and female servants, and gave them to Abraham, and gave them back to him Sarah his wife) . On the left side, as a fruit of the divine promise, we contemplate the tribe of the patriarch, whose fertility is made evident through the representation of numerous women and children. On the right side, magnificently dressed in Greco-Roman-inspired armor and turbans of oriental taste, as is customary in the Flemish world, we are presented with the hosts of Abimelech. In the central term, the patriarch and the leader merge in an embrace (Gen 20: 13; And when God made me wander from my father's house, I said to him: This is the mercy that you will do to me, that in all the places where we arrive, you will say of me: He is my brother)
- Label on the back certifying the restoration of the painting around 1850 by Severiano Marín, one of the first technicians to do so at the Museo del Prado. "S[everiano] Marín, R[estorer] of the Real Museo de S[u] M[ajestad] restored it in March 18[?] ". The framing must have been added during this same period.
- Unframed picture dimensions: 66 x 53 cm / 87 x 75 cm with magnificent frame in sculpted and gilded wood carving from the mid-19th century.
- It comes from a private collection of paintings in Madrid.
- Exceptional state of conservation.
- This painting is a unique, original and unrepeatable work of art.
- Montbaron Gallery attaches a technical sheet prepared by a qualified art historian to all its lots. This sheet is sent in digital format and on request.
- Shipping costs are indicative.
- Important: Due to the fragile nature of antique frames, shipping companies do not provide compensation for damage to frames. We make great efforts to ensure the protection of paintings, but we cannot accept complaints for damage to frames.
Estimate
Time, Location
Auction House
- Oil on copper plate. To give the whole piece greater strength and stability, the metal plate has been placed on a wooden frame.
- Specialising in high-quality cabinet painting, mainly with mythological and biblical themes, Frans Francken II incorporated the rich repertoire of Italian mannerism into the typically Dutch component of his painting from the end of the 16th century, achieving scenes of great human dynamism that open up to bucolic Flemish landscapes. In 1605 he joined the Guild of Painters of Saint Luke in his hometown, beginning a career that would last until 1640, in which he specialised as a painter of cabinet works. His contribution to the genre of gallery paintings is very important, influencing artists such as Teniers. His work is based on that of Jan Brueghel de Velours, although it also has obvious influences from his ancestors in the Francken family. The debts of his earliest productions to mannerism and 16th-century painting can be seen both in the structure of the compositions and in the rhythm and expression of his figures. Furthermore, these include obvious allusions to the work of Italian artists such as Raphael, Veronese or Zuccaro. Similarly, the use of prints by Dürer or Lucas de Leyden has been demonstrated for some of his figures. Francken II's rich production can be divided into four stages. The first works denote his initial connection with the painting and style of the 16th century, with high viewpoints and a clear lack of cohesion in the transitions between the different planes. He also uses local colours, especially browns, blues and greens. Characteristic are his figures with large black eyes, achieved through touches of charcoal black, which would continue throughout his career. In a second stage, from 1610 onwards, his palette became lighter, while the themes and interpretations, tirelessly repeated through various replicas, provided him with an immense and easily recognisable pictorial corpus. This is the time of the inclusion of figures, especially stereotyped women, who will be repeated throughout his work. In a third moment, from 1620 onwards, typical male figures wearing turbans or Phrygian caps begin to appear, while his compositions denote a profoundly eclectic character. The general luminosity now reaches its zenith, determining the chromatic scheme of the work, partly influenced by the general harmonisation that was taking place at the same time in history painting in the Flemish school. Perhaps due to this sense of adapting to the novelties in the last phase of his production, from 1630 onwards he varied towards compositions where the local colour would evolve towards general tones, frequently brown, following both the style of Rubens and that of the Dutch painting of his time. He also produced altar pieces, although in no case did he manage to approach the monumentality of Rubens' work.
- In this magnificent painting from around 1620, the primary source is taken from the twentieth chapter of the Book of Genesis, which culminates with the restitution, by the Canaanite king Abimelech to Abraham, of his wife Sarah along with a large volume of gifts in the form of precious metals, servants, and cattle (Gen 20: 14; Then Abimelech took sheep, and oxen, and male and female servants, and gave them to Abraham, and gave them back to him Sarah his wife) . On the left side, as a fruit of the divine promise, we contemplate the tribe of the patriarch, whose fertility is made evident through the representation of numerous women and children. On the right side, magnificently dressed in Greco-Roman-inspired armor and turbans of oriental taste, as is customary in the Flemish world, we are presented with the hosts of Abimelech. In the central term, the patriarch and the leader merge in an embrace (Gen 20: 13; And when God made me wander from my father's house, I said to him: This is the mercy that you will do to me, that in all the places where we arrive, you will say of me: He is my brother)
- Label on the back certifying the restoration of the painting around 1850 by Severiano Marín, one of the first technicians to do so at the Museo del Prado. "S[everiano] Marín, R[estorer] of the Real Museo de S[u] M[ajestad] restored it in March 18[?] ". The framing must have been added during this same period.
- Unframed picture dimensions: 66 x 53 cm / 87 x 75 cm with magnificent frame in sculpted and gilded wood carving from the mid-19th century.
- It comes from a private collection of paintings in Madrid.
- Exceptional state of conservation.
- This painting is a unique, original and unrepeatable work of art.
- Montbaron Gallery attaches a technical sheet prepared by a qualified art historian to all its lots. This sheet is sent in digital format and on request.
- Shipping costs are indicative.
- Important: Due to the fragile nature of antique frames, shipping companies do not provide compensation for damage to frames. We make great efforts to ensure the protection of paintings, but we cannot accept complaints for damage to frames.
Estimate
Time, Location
Auction House
