Johann Heiss and studio Memmingen 1640 - 1704 Augsburg

The actual painting is slightly warmer and deeper in tone than the catalogue illustration suggests. The canvas has been relined (wax). Two horizontal folding marks can be seen in the upper part running from the right to the left edge, just above the head of the statue, and have been retouched. Minor thinness can be observed throughout, e.g. in the sky and in the darker parts lower left. One vertical repaired damage of approx 7 cm. can be seen upper right in the tree. Retouchings can be seen throughout, e.g. in the figures' faces, in the two men to the left, the woman to the right of the statue and the two woman to the left in the sky. A larger area of retouching can be observed in the upper left corner in the sky, as well as minor strengthening in the figure and horse. The painted surface has a coarse craquelure pattern, which varies in places. The painting is under a dirty varnish layer. Inspection under ultra violet light confirms the above and shows further scattered retouchings throughout. Offered in a later gilt wood frame, in good condition. (ML)
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We are grateful to Dr. Peter Königfeld for suggesting an attribution to Johann Heiss and his studio. He dates this work around 1700.

Two Allegories of Fertility are recorded in old lists, a Mutter Natur mit vielen Figuren und Thieren, Munich, Von Schneider collection, 1810, p. 299, no. B37 (no further description or measurements) and an Allegorie der Fruchtbarkeit, oil on canvas, 101 by 146.5 cm., p. 300, no. B42 (See P. Königfeld, Der Maler Johann Heiss Memmingen und Augsburg 1640-1704, Konrad 2001).

Artemis of Ephesos, who forms the centre of the present composition, incorporated the powers of the Greek goddess Artemis, mistress of animals, and those of the Anatolian goddess Kybele, protectress of the town and fertility of all beings, humans, animals and plants. Christians saw in her an antecedent of the Virgin Mary, who is believed to have lived in Ephesos at the end of Her life. Excavations in Rome during the 17^th century renewed interest in this goddess, erroneously interpreted as being adorned with multiple breasts.