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拍品专文
In his sixty-year career David Teniers II returned to country kermesses, village weddings and dances outside taverns more than any other theme, taking great joy in the depiction of crowds of revelers. Teniers was registered as a master in the Antwerp guild of Saint Luke in 1633 and five years later married Anna Brueghel, daughter of Jan Breughel I of the great dynasty of painters. It is no coincidence that Teniers favored such scenes, as he inherited a number of Brueghel family drawings and paintings, which provided endless inspiration for his own compositions. His inventive and colorful kermesses were popular among Europe's elite, including both Archduke Leopold-Wilhelm (see, for example, the painting today in The Virginia Museum of Fine Arts, Richmond, VA, inv. no. 1156) and William II, Prince of Orange.
In this painting, merrymakers gather outside an inn, bearing the red banner of Saint George. People of all ages join in the celebration: some are seated at tables eating and drinking, a young couple at center dances to a bagpiper’s tune, a man in the foreground sleeps off his over indulgence, another vomits whilst leaning against the inn's signpost at right and a third man is reluctantly led away from the revelry. Beyond the tree line, the spire of a distant church is visible. The silvery blue sky and bright reds and blues of the figures’ clothing are typical of Teniers’ paintings of the 1640s, a period that saw him eschew the more monochrome palette of his earlier works.
Another kermesse in a Belgian private collection, also executed on copper and datable to circa 1642, includes a similar dancing couple at the center, with the young man tossing up his red cap in a celebratory gesture, as well as a nearly identical still life at lower right: a discarded broom set against a bench, with an upturned pot resting against barrels (fig. 1). The repetition of such motifs indicates that both paintings were developed from drawings, which provided endless source material for Teniers to develop into novel compositions.
In this painting, merrymakers gather outside an inn, bearing the red banner of Saint George. People of all ages join in the celebration: some are seated at tables eating and drinking, a young couple at center dances to a bagpiper’s tune, a man in the foreground sleeps off his over indulgence, another vomits whilst leaning against the inn's signpost at right and a third man is reluctantly led away from the revelry. Beyond the tree line, the spire of a distant church is visible. The silvery blue sky and bright reds and blues of the figures’ clothing are typical of Teniers’ paintings of the 1640s, a period that saw him eschew the more monochrome palette of his earlier works.
Another kermesse in a Belgian private collection, also executed on copper and datable to circa 1642, includes a similar dancing couple at the center, with the young man tossing up his red cap in a celebratory gesture, as well as a nearly identical still life at lower right: a discarded broom set against a bench, with an upturned pot resting against barrels (fig. 1). The repetition of such motifs indicates that both paintings were developed from drawings, which provided endless source material for Teniers to develop into novel compositions.