- 206
Cornelis van Spaendonck Dutch, Tilburg 1756 - 1840 Paris
Estimate
100,000 - 150,000 EUR
bidding is closed
Description
- Cornelis van Spaendonck
- a flower still life with roses, tulips, peonies and other flowers in a vase
- signed and dated 1817 l.l.
- oil on canvas
- 84 by 67 cm.
Catalogue Note
Cornelis van Speandock was one of the most accomplished flower painters of his time. After serving his apprenticeship at Herreyns' studio in Antwerp, Van Spaendonck visited Paris in 1773. His elder brother Gerard, also active as a flower painter, had already settled there and enjoyed considerable success, judging from the many commissions he received as well was his appointment to King's miniature painter.
Cornelis followed in the wake of his brother's success. In 1789 he became member of the Académie des Beaux Arts, which allowed him to participate in the salons that were held in the Louvre. In 1795 he became artistic director of the porcelain factory in Sèvres, a position he held for five years. Gerard and Cornelis worked closely together. Through their contacts with the French upper class, Gerard and Cornelis received many commissions. 'Initially his work resembled that of Gerard, but after some time he developed a style of his own', Sam Segal writes in his book Gerard & Cornelis van Spaendonck. Twee Brabantse bloemenschilders in Parijs (Maarsen 1980, p. 45). 'Although he was heavily influenced by his brother', Segal continues, 'Cornelis clearly had a talent of his own and was sometimes more playful and perhaps even more artistic than his brother'.
Cornelis followed in the wake of his brother's success. In 1789 he became member of the Académie des Beaux Arts, which allowed him to participate in the salons that were held in the Louvre. In 1795 he became artistic director of the porcelain factory in Sèvres, a position he held for five years. Gerard and Cornelis worked closely together. Through their contacts with the French upper class, Gerard and Cornelis received many commissions. 'Initially his work resembled that of Gerard, but after some time he developed a style of his own', Sam Segal writes in his book Gerard & Cornelis van Spaendonck. Twee Brabantse bloemenschilders in Parijs (Maarsen 1980, p. 45). 'Although he was heavily influenced by his brother', Segal continues, 'Cornelis clearly had a talent of his own and was sometimes more playful and perhaps even more artistic than his brother'.