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Susanna van Collen (1606-37) wears the simple, loose garments, gaily-striped silk scarf from Asia, and uncovered hair (with pearls from the East Indies) of a wealthy lady posing as a shepherdess of antiquity. This portrait is one of a pair (with Walters 38.226) that was probably made to commemorate the marriage in 1626 of Jan Pellicorne (1597-after 1653) and Susanna van Collen, both from wealthy merchant families.
X-rays show that Poelenburch initially painted the couple in sober everyday attire with starched ruff collars, so Susanna looked more like the mother in the "Portrait of a Family". After Susanna's portrait was completed, and Jan's half executed, they decided to have themselves depicted instead in the newly fashionable, lighthearted manner. Then, after seven years of marriage and parenthood, the couple returned to the conventional style for portraits commissioned from an Amsterdam painter in Rembrandt's circle.
H: 3 7/8 x W: 3 in. (9.84 x 7.62 cm)
medium: oil on copper
Walters Art Museum, 1963, by gift.
The royal feast is set in a green landscape dotted with flowers and blossoming bushes against a gold sky with wisps of blue and white clouds. The group of figures in the upper left includes a falconer, horses, attendants, and two hunting cheetahs, while servers transport food and drink in gold and ceramic vessels, some presumably Chinese blue and white porcelain. Possibly this banquet was offered after a courtly hunt, a prestigious symbol of power and wealth. Among the groups of men sitting on elaborate carpets are three Chinese officials, identifiable by their black hats, kneeling together on the ground. Although their presence indicates the presence of foreign cultures within the Timurid court, the painting also reveals that not all are welcome to the feast; in the bottom half of the page a guard wields a stick to drive a group of men out of the garden.
Iran, Shiraz, Timurid period (1370-1501)
Opaque watercolor, ink, gold, and silver on paper
Overall: 32.7 x 22 cm (12 7/8 x 8 11/16 in.); Image: 26.1 x 20.7 cm (10 1/4 x 8 1/8 in.)
Did you know...
The painting on this folio is the first half of a double-page frontispiece now detached from a <em>Shahnama </em>(Book of Kings) manuscript. CMA 1956.10 is the left half of the frontispiece.
John L. Severance Fund
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Part of a second, larger series of 30 prints, this work illustrates a village scene around Brussels. The preliminary drawing is shown beside the print, which is reversed--a consequence of the printmaking process. While the engraver closely followed the composition of the drawing, the images are not exactly alike. The printmaker changed a number of details, such as removing the figure on the arched bridge and adding stairs leading to the water on the left. The most significant change, however, is the way the image was cropped--the sides cut off and the foreground enlarged--resulting in a change of perspective. In addition, the spontaneous quality of the drawing is virtually lost in the print. Compare the surface of the water and the reflections of the plants and buildings in these two works.
Flanders
etching and engraving
Image: 12.8 x 20.4 cm (5 1/16 x 8 1/16 in.); Sheet: 12.8 x 20.4 cm (5 1/16 x 8 1/16 in.); Mounted: 17.8 x 21.9 cm (7 x 8 5/8 in.)
Did you know...
Though this and other towns in the same series share familiar features with some Netherlandish villages, none of the exact locales can be identified.
Mr. and Mrs. Charles G. Prasse Collection