Oil on a panel Head of Character Daniel Van Den Dyck
Oil on a panel Head of Character Daniel Van Den Dyck
Oil on a panel Head of Character Daniel Van Den Dyck
Oil on a panel Head of Character Daniel Van Den Dyck
Oil on a panel Head of Character Daniel Van Den Dyck
Oil on a panel Head of Character Daniel Van Den Dyck

Oil on a panel Head of Character Daniel Van Den Dyck

c. 1630 to c. 1670 Anversa Belgium

Offered by Riccardo Moneghini

7,300 eur
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Painting oil on panel depicting a strong and characterized head of an old man with dimensions of 36 x 28 cm without frame and 68 x 60 with a contemporary frame of the Flemish painter Daniel Van den Dick (Antwerp 1610 - Mantua 1670).

He was admitted to the Guild of Saint Luke in Antwerp around 1631 - 1632 and became a qualified teacher around 1633 -1634. At the end of September 1633 he went to Bergamo in Italy and in 1634 he moved to Venice, where he married Lucrezia, daughter of the painter Nicolas Régnier, also a painter.

From 1658 to 1661 he was prefect of the factories at the Gonzaga ducal court of Mantua. In the Doge's Palace there is a work by Daniel Van den Dyck, a Venus painted in the ceiling of the Gabinetto dei Mori as well as the great painting The Marriage of the Virgin, recently restored and now exhibited in the Galleria Nuova of the Palazzo Ducale Museum. The frescoes of the Villa Venier-Contarini in Mira, near Venice, depicting scenes from the Psyche Legend have also been attributed to him. His style was influenced by Rubens, as can be seen from his work The Martyrdom of San Lorenzo (Madonna dell'Orto, Venice).

In this depiction of this character portrayed for the particularity and the depth of the face, quickly dashed with a marked formal synthesis and with a square facial appearance, illuminated by an artificial light source that directly affects the protagonist, we can see a revisitation of a seventeenth-century figurative culture with an aesthetic and interpretative angle really important and noticeably of taste.

Furthermore, painting in such a shortened way, apparently almost hasty, but instead subtended by a pressing rhythm, is accentuated by a more thoughtful interpretative commitment. Focusing then on the really peculiar types both formal and physiognomic, combined with the analysis of the contrasted chromatic fabric crossed by brightly lit flashes.

The composition is very versatile and intelligently calibrated in the colors especially in those continuous contrasts between the very clear and dark parts, where the extraordinary versatility of the artist is evident thanks to a classic education due to the study of the great masters through the copy of plaster models and prints, both thanks to a passion for invention, for jet painting so strong, powerful and daring.

Here represented there is one of the subjects most dear to the artist or the representation of half figures studied and analyzed with raw realism; here we also see the predilection of our artist for a more polished pictorial body, more softly shaped and more vibrant.

The compositional scheme of this work faithfully reflects the precepts of the era with an almost frontal layout of the figure and with the light conceived in the narrow Caravaggesque tradition, with a light source coming from the left, which brings out the noble head against a dark background , faded to the right in a lighter aura; here we can easily notice the inclination and the desire of the artist to capture in the portrait the character of the character and the attention to an emotional and sentimental rendering of the image through a painting, which exudes a profound humanity and a great moral force, without never come to a decorative formalism, endowed with both great naturalism and realism and a strong religious spirit and an intimate and sorrowful participation for a humanity marked by age and suffering.

The painting is in a good state of readability and depicts the study of a virile face: a so-called head of character, a sort of portrait with the horsehair and beard, usually built against a dark backdrop to make the contrasts of light more effective and bring out the full-bodied material consistency of the pictorial mix better. With greater precision we can affirm that in this table the portrait character wearing a slightly sketched outfit is painted with rich pictorial dough spread out with energetic brushstrokes and warm and luminous hues: these are the typical features of the evolved baroque artistic environment both Italian and Flemish.

The author of this table is a scholar Flemish master attracted by the figurative culture of the works of Verhaeght and those of Nicolas Regnier; in the painting in question there emerges a visual thought rich in elegant suggestions drawn from the best Baroque tradition in the Piedmont area enriched by an education typical of the great masters who were active in Italy in the seventeenth century. As proof of our attribution, it will be enough to compare this bearded old man with other works by the valiant Daniel Van den dyck, such as the martyrdom of Saint Lawrence in Venice in the church of Santa Maria dell 'Orto and above all the paintings of Villa Venier in Mira, depicting psyche revered as a goddess and Psyche welcomed in the Olympus.

This item, like all our objects, is sold accompanied by a certificate of photographic authenticity; this document identifies the object by adding more value to the article.
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Mr. Riccardo Moneghini
Old Master Paintings Expert - Court Expert
Great state of conservation
Mantova, private collection
Height 36.00 cm (14.17 inches)
Width 28.00 cm (11.02 inches)
External Height 68.00 cm (26.77 inches)
External Width 60.00 cm (23.62 inches)
Stock Code
oil on a panel
Riccardo Moneghini

Riccardo Moneghini
Via privata F.lli Asquasciati 88

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