View full screen - View 1 of Lot 11. In the manner of Dirk Bouts, late 16th-early 17th Century, Mater Dolorosa | Dans le goût de Dirk Bouts, fin du XVIe-début du XVIIe siècle, Vierge de douleurs.
11

In the manner of Dirk Bouts, late 16th-early 17th Century, Mater Dolorosa | Dans le goût de Dirk Bouts, fin du XVIe-début du XVIIe siècle, Vierge de douleurs

Estimate:

10,000 - 15,000 EUR

From a Belgian Private Collection | Provenant d'une collection particulière belge

In the manner of Dirk Bouts, late 16th-early 17th Century, Mater Dolorosa | Dans le goût de Dirk Bouts, fin du XVIe-début du XVIIe siècle, Vierge de douleurs

In the manner of Dirk Bouts, late 16th-early 17th Century, Mater Dolorosa | Dans le goût de Dirk Bouts, fin du XVIe-début du XVIIe siècle, Vierge de douleurs

Estimate:

10,000 - 15,000 EUR

Lot sold:

10,710

EUR

In the manner of Dirk Bouts, late 16th-early 17th Century

Mater Dolorosa


Oil on panel

14,3 x 10,8 cm ; 5⅝ by 4¼ in.

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Dans le goût de Dirk Bouts, fin du XVIe-début du XVIIe siècle

Vierge de douleurs


Huile sur panneau

14,3 x 10,8 cm ; 5⅝ by 4¼ in.

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The present painting is based on a composition by Dirk Bouts, the original of which is lost, but which is known from the large number of copies made by his workshop or later (see V. Henderiks, Albrecht Bouts, Brussels, 2011, pp. 213-229, fig. 183 to 200): the National Gallery in London has the earliest version, made by the Workshop of Dirk Bouts (fig. 1, inv. NG711), as well as its companion Christ Crowned with Thorns (inv. NG712).


The Mater Dolorosa and the Christ Crowned with Thorns are often conceived as pendants; this tradition, originally Byzantine, persisted in the iconography of the Flemish and Dutch primitives. The present painting was probably also accompanied by a Christ Crowned with Thorns.


The Virgin, in a pious pose, joins her hands in prayer; her face expresses both fervent devotion and profound grief. The white veil framing her face has very distinct broken folds, characteristic of Flemish works of the sixteenth century. The gold ground is also a regularly occurring feature.

Although based on a fifteenth century composition, this work nevertheless seems later: the panel itself probably dates from the late sixteenth or early seventeenth century. The painting also differs from works of the earlier period in its framing, which is slightly less tight than the workshop copies, as well as in its size: intended for private devotion, these paintings were normally smaller.


While the pathos and the technique employed are based on the works of Dirk Bouts, these characteristics were widely disseminated throughout the sixteenth century and into the early seventeenth century, especially through Dirk’s son Albrecht Bouts (circa 1451/54-1549) and the workshops of the two masters. 


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Le présent tableau reprend une composition de Dirk Bouts, dont l’original est aujourd’hui perdu, mais qui nous est connu par de très nombreuses copies, d’atelier ou plus tardives (voir V. Henderickx, Albrecht Bouts, Bruxelles, 2011, pp. 213-229, fig. 183 à 200) : la National Gallery à Londres en conserve la version la plus ancienne, réalisée par l’Atelier de Dirk Bouts (fig. 1, inv. NG711), et accompagnée du Christ couronné d’épines (inv. NG712).


La Vierge de Douleur et le Christ couronné d’épines forment souvent pendant ; d’origine byzantine, cette tradition se prolonge ensuite dans l’iconographie des primitifs flamands et hollandais. Le présent tableau était probablement lui aussi accompagné d’un Christ couronné d’épines.


La Vierge, dans une attitude pieuse, joint ses mains en prière ; son visage exprime une fervente dévotion accompagnée d’une profonde tristesse. Le voile blanc encadrant son visage présente des plis cassés et très marqués, caractéristiques des œuvres flamandes du XVIe siècle. Le fond d’or se retrouve lui aussi fréquemment.


S’il reprend une composition du XVe siècle, il semble néanmoins plus tardif : d’une part, par le panneau, datant plus probablement de la fin du XVIe ou du début du XVIIe siècles. Notre tableau se distingue également des œuvres d’époque par son cadrage, légèrement plus large que ceux des œuvres d’atelier, mais aussi par ses dimensions : conçus pour la dévotion privée, ces tableaux sont habituellement de plus petites dimensions.


Si le pathos et la technique trouvent leur origine dans les œuvres de Dirk Bouts, ils connaîtront une large diffusion tout au long du XVIe siècle et jusqu’au début du XVIIe siècle, notamment grâce à Albrecht Bouts (vers 1451/54-1549), fils de Dirk, et par les ateliers des maîtres.



Fig. 1 Dirk Bouts, Vierge de douleurs © Presented by Queen Victoria at the Prince Consort's wish, 1863, The National Gallery, Londres.