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拍品专文
Cornelis Norbertus Gijsbrechts specialised in painting trompe-l’oeil still-lifes, works that found particular favour with Europe’s leading patrons of the arts. Probably born in Antwerp, Gijsbrechts was by the early 1660s active in Regensburg, where he may have been in the service of Emperor Leopold I. Following a short spell in Hamburg, Gijsbrechts settled in Denmark, where between 1668 and 1672 he served as court painter to Frederick III and Christian V. He is believed to have subsequently spent time in Stockholm, Breslau (Wrocław) and possibly Bruges on account of a painting that bears the inscription 'Monsieur Gijsbrechts/ schilder Jegenswordig/ tot Brughe' (Aguttes, Neuilly, 14 December 2010, lot 15.bis). His place and date of death is not known.
Only around seventy paintings by Gijsbrechts survive, with cupboard door paintings like this accounting for a small proportion of his output. Gijsbrechts’ earliest dated painting of this type is from 1665, now in the Musées des Beaux-Arts, Rouen (inv. no. 975.4.75). Much as with the canvas in Rouen and in contrast to the more vertically oriented canvas of a year later here, Gijsbrechts favoured more-or-less square formats for his cupboard paintings. While in the Rouen painting the hinged pinewood door is closed, Gijsbrechts has here enhanced the sense of illusionism by depicting it slightly ajar, as if opening into the viewer’s space. A similar approach can be found in Gijsbrechts’ cupboard paintings of 1665 in the Fresno Metropolitan Museum of Art and Science (inv. no. FMM 82.31) and one of a pair of canvases dated 1670 in the Statens Museum for Kunst, Copenhagen (inv. no. KMS3075). With its leaded windowpanes, the cupboard functions as a display case for a broad array of items: letters, prints, an almanac (appropriately dated 1666), a knife, an inkwell, a feather quill and a multitude of gold and silver coins about to spill over the lower ledge. Much as with the paintings in Rouen and Fresno, Gijsbrechts has signed and dated the painting within the plate of the first of a booklet of prints.
Depictions of trompe-l’oeil wall cupboards have been known since Antiquity but became increasingly popular from the Renaissance on. In 1328-30, Taddeo Gaddi, for example, included two such open cupboards for liturgical objects in his frescoes for the Baroncelli Chapel in Santa Croce, Florence. In the course of the fifteenth and sixteenth centuries, various Italian artists likewise included them within their intarsia for churches and secular settings. More direct inspiration for Gijsbrechts’ production of cupboard still-lifes can be found in the paintings of Georg Flegel, whose work Gijsbrechts probably encountered while in Germany, and – in particular – Samuel van Hoogstraten, who produced similar images while working in Vienna and Regensburg in the first half of the 1650s (fig. 1). The unceasing popularity of these images saw Gijsbrechts’ son, Franciscus, produce a number of similar cupboard paintings in the mid-1670s.
Only around seventy paintings by Gijsbrechts survive, with cupboard door paintings like this accounting for a small proportion of his output. Gijsbrechts’ earliest dated painting of this type is from 1665, now in the Musées des Beaux-Arts, Rouen (inv. no. 975.4.75). Much as with the canvas in Rouen and in contrast to the more vertically oriented canvas of a year later here, Gijsbrechts favoured more-or-less square formats for his cupboard paintings. While in the Rouen painting the hinged pinewood door is closed, Gijsbrechts has here enhanced the sense of illusionism by depicting it slightly ajar, as if opening into the viewer’s space. A similar approach can be found in Gijsbrechts’ cupboard paintings of 1665 in the Fresno Metropolitan Museum of Art and Science (inv. no. FMM 82.31) and one of a pair of canvases dated 1670 in the Statens Museum for Kunst, Copenhagen (inv. no. KMS3075). With its leaded windowpanes, the cupboard functions as a display case for a broad array of items: letters, prints, an almanac (appropriately dated 1666), a knife, an inkwell, a feather quill and a multitude of gold and silver coins about to spill over the lower ledge. Much as with the paintings in Rouen and Fresno, Gijsbrechts has signed and dated the painting within the plate of the first of a booklet of prints.
Depictions of trompe-l’oeil wall cupboards have been known since Antiquity but became increasingly popular from the Renaissance on. In 1328-30, Taddeo Gaddi, for example, included two such open cupboards for liturgical objects in his frescoes for the Baroncelli Chapel in Santa Croce, Florence. In the course of the fifteenth and sixteenth centuries, various Italian artists likewise included them within their intarsia for churches and secular settings. More direct inspiration for Gijsbrechts’ production of cupboard still-lifes can be found in the paintings of Georg Flegel, whose work Gijsbrechts probably encountered while in Germany, and – in particular – Samuel van Hoogstraten, who produced similar images while working in Vienna and Regensburg in the first half of the 1650s (fig. 1). The unceasing popularity of these images saw Gijsbrechts’ son, Franciscus, produce a number of similar cupboard paintings in the mid-1670s.