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Jan van Noordt created essentially the most flamboyant and expressive work of the Dutch Golden Age. David de Witt untangles truth from fiction during this finished learn of the lifestyles and paintings of Jan van Noordt, delivering an in depth biography in response to an intensive evaluate of the documentary facts.

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It doesn't contain the figure with the vase, and so extra heavily follows De Vos’s oil cartoon of the composition: panel, forty seven. 2 x fifty three cm, Budapest, Szépmüvészeti Múzeum (inv. no. 1489); see Czobor 1967. 138 c atalog ue 27 The Magnanimity of Scipio, canvas, 103 ϫ 88 cm, signed and dated 1672, Amsterdam, Rijksmuseum (photo: Rijksmuseum-Stichting Amsterdam). c at a lo gu e 27 The Magnanimity of Scipio (Livy, Historiarum advert urbe condita, XXVI, 50), canvas, 103 x 88 cm, signed and dated, backside correct: Joan v. Noordt An0 1672, Amsterdam, Rijksmuseum (inv. no. 1762) 139 provenance Hendrick Muilman Banderheer van Naamstede sale, Amsterdam (Van der Schley and De Vries), 12–13 April 1812 (Lugt 8345), lot 112; got by means of Mogge Muilman; Amsterdam, choice of H. van der ballot; given to the Rijksmuseum in 1880 historical past work presents some of the extreme feelings, and the idea of Scipio arriving at his selection. He conveys to a miles larger volume the expressions of the abject couple and pleading mom and dad, the calmness and compassion of Scipio, and the admiration of his commanders. Van Noordt reused the main trendy and expressive figure within the past model, specifically Allucius’s bride. The bride’s mom can also be borrowed from an prior composition, Pretioze and Don Jan, the place she takes the function of Majombe (in variations: cat. 31, 32). l i t e r at u r e Hofstede de Groot 1892, 213, no. sixteen, 216, no. thirteen; Wurzbach 1906–10, 2:243; Kronig 1911, 157; Bauch 1926, 68n92; Decoen 1931, 17 (illus. ), no. eleven; Pigler 1968, 184 (illus. no. 12); Pigler 1956, 409; Czobor 1967, 351n5; assortment catalogue Budapest 1968, 493; Bénézit 1976, 7:750; Christine S. Schloss in assortment catalogue Hartford 1978, 168; Schatborn 1979, 123, 126 (detail representation, illus. 16); Bernt 1980, 926 (illus. ); Sumowski 1983–94, 1:140, 143n72, 178 (illus. ); 5:3112, with out. 2141; 6:3736, without. 2403; Haak 1984, 489 (illus. no. 1085); assortment catalogue Bordeaux 1990, 226n2, 227n12; exhibition catalogue Utrecht and Frankfurt 1993, 241n8; Golan 1994, 204 1 Van Noordt can have been acquainted with the scene of adlocutio within the portray through Pieter Lastman of Coriolanus and the Roman girls, now in Dublin, which was once dependent partly on a well-known Italian renaissance evocation of the classical culture: the fresco of The imaginative and prescient of Constantine by way of Giulio Romano and Rafaellino, within the Sala di Constantino within the Vatican; see Broos 1975–76, 2 hundred. chosen assortment c at a l o g u e s Amsterdam 1885, 38, no. 256a; Amsterdam 1976, 419, no. a708 (illus. ) exhibitions Amsterdam 1950, seventy three, no. 216; Perth, Adelaide, and Brisbane 1997, 110–11, no. forty two (illus. ) an Noordt’s moment depiction of this topic from Livy takes on dynamic strength and grandeur. The artist has positioned Scipio at the correct aspect, status on a dais, below a vaulted portico, together with his commanders in the back of him. at the steps on the backside left kneel Allucius and his bride, and at the back of them stand her mom and dad. Scipio stands and increases his correct hand to handle his viewers. vital alterations from the former model (cat.

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