The School of Van Dyck, Le Christ au Rosea (Christ Crowned with Thorns), c. 1700s
Signed The School of Van Dyck engraving, Le Christ au Rosea (Christ Crowned with Thorns), c. 1700s
|Artist:||The School of Van Dyck (1600 - 1700)|
|Title:||Le Christ au Rosea (Christ Crowned with Thorns), c. 1700s|
|Image Size:||10 1/4 in x 8 1/4 in (26 cm x 21 cm)|
|Sheet Size:||10 7/16 in x 8 3/8 in (26.5 cm x 21.3 cm)|
|Framed Size:||approx. 24 1/2 in x 21 5/8 in (62.2 cm x 54.9 cm)|
|Signature:||Signed in the plate 'Anton. Van Dyck inven' in the lower left; also signed 'Daret. Sculp' in the lower center and 'Mariette ex.' in the lower right.|
|Condition:||This work is in very good condition; adhered to backing board with small tear along right border.|
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Item # 3731
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Historical Description of this artwork
This striking copy of Van Dyck's original engraving Le Christ au Roseau depicts Christ as the epitome of holiness. Though undressed, crowned with thorns, bound with rope, and prodded with a reed, Christ still appears as a muscular, healthy, and noble figure, taking his cruel abuse with a sense of dignity and grace. Bright rays of light emanate from his head as he sorrowfully turns to face his afflicters. According to the Biblical tale, the Roman soldiers seen to the right gave Jesus a reed as a scepter during the Mocking of Christ after his scourging. They then took the reed from Christ's hand and struck him with it, beating the thorns of his crown into his head. Though the man holding the reed to the lower right appears cruel and heartless, his young companion to the upper right appears somewhat surprised and uncertain by the cruel events at hand. The artist uses strong cross hatched lines to convey his imagery as well as distinct tonal contrasts, conveying Christ's body and halo in white while shrouding the other figures in darkness.
This piece is a copy in reverse after the original engraving by Anthony van Dyck (Antwerp, 1559 – London, 1641). The plate has been marked in the lower left of the plate “Anton. van Dyck inven.” Also marked “Daret Sculp. In the lower center and “Mariette ex. In the lower right. Beneath the engraved portrait is the inscription to the left: Ecce ftat innocuous fpinis redemitus acutis, | ?mula funt cuius bella labella rofis: (to the right): Et vero Ind?e illudis arundine Regi, | Impie fed nefcis te mala quanta manent.
ORIGINAL ENGRAVING BY VAN DYCK FROM WHICH THIS WORK WAS BASED DOCUMENTED AND ILLUSTRATED IN:
1) Mauquoy-Hendrickx. L'Iconographie d'Antoine Van Dyck: Catalogue Raisonne I. Bruxelles: Bibliotheque Royale Albert I, 1991. Listed as catalogue no. A on pg. 116.
2) Mauquoy-Hendrickx. L'Iconographie d'Antoine Van Dyck: Catalogue Raisonne II. Bruxelles: Bibliotheque Royale Albert I, 1991. Illustrated as catalogue no. A on pg. 15.
About the Framing:
Framed to archival museum grade conservation standards, this piece is framed in a complementary moulding with silk mats and optical grade Plexiglas.
What Do I Get With My Purchase?
The Certificate of Authenticity accompanies this work, guaranteeing its authenticity for as long as you own it.
All catalogue raisonné and historical documentation is included with your purchase.
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The School of Van Dyck Biography
Anthony van Dyck (Antwerp, 1559 – London, 1641) collaborated with masterful engravers to create his remarkable Iconography series, a large and extensive series of prints with half-length portraits of eminent contemporaries. Van Dyck produced drawings and, for eighteen of the portraits, he himself engraved the plates with the heads and the main outlines of the figures with much skill. However, for most of the series, he left the printmaking work to specialists who engraved the plates based on Van Dyck’s own drawings. The series was highly successful and exists as Van Dyck’s only venture into printmaking. It was also greatly influential as a commercial model for reproductive printmaking, as Van Dyck’s work was greatly admired by other artists as being accessible and possible to emulate to certain level of exactness.
Van Dyck’s success with the Iconography series compelled him to maintain a large workshop in London. While he did have assistants and students such as Adriaen Hanneman (1604 – 1671), Van Dyck’s Iconography prints are considered more of a collaborative effort with other known artists, who engraved these works of portraiture after original sketches and paintings by Van Dyck.