Estimate
€ 6.000 - 8.000
Sold
€ 10.170
The price includes buyer's premium
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Information
oil on canvas
cm 119 x 151
cm 119 x 151
Literature
M. Marini, L'ultimo caravaggesco: tre "cene in Emmaus" inedite dell'olandese Matthias Stom, tardo seguace del maestro e del naturalismo "a luce di candela", in "Quadri & Sculture", vol. 5, n. 27, 1997, p. 42, ill. p. 41.
The work is accompanied by expertise by professors Ferdinando Arisi and Maurizio Marini, who advance the attribution to the Dutch Caravaggesque master. Marini published the painting when it was still in a private collection in London and dates it around 1632, when Stomer left Rome to move to Naples, for "the Honthorstian components and the quality of the support (semi-refined hemp)" (Marini, p. 42).
The painting can be compared with that of a similar subject, executed by Stomer, in Naples at the Capodimonte Museum; while, the disciple on the left shows evident affinities with the figure of the shepherd, also on the left, of the Adoration of the Shepherds in Turin at Palazzo Madama (see B. Nicolson, Caravaggism in Europe , 1989, vol. I, p. 241).
Solved with a singular scenic effect of light and at the same time intimate and mystical in the attitude and faces of the protagonists of the evangelical episode, the Supper at Emmaus offered here interprets in a modern key the passage narrated by Luke (XXIV, 30-31) and is proof of the success of the theme treated several times in the seventeenth century starting from Caravaggio and his imitators because it is suitable to be placed both on the walls of a palace and on those of convent refectories.
The painting can be compared with that of a similar subject, executed by Stomer, in Naples at the Capodimonte Museum; while, the disciple on the left shows evident affinities with the figure of the shepherd, also on the left, of the Adoration of the Shepherds in Turin at Palazzo Madama (see B. Nicolson, Caravaggism in Europe , 1989, vol. I, p. 241).
Solved with a singular scenic effect of light and at the same time intimate and mystical in the attitude and faces of the protagonists of the evangelical episode, the Supper at Emmaus offered here interprets in a modern key the passage narrated by Luke (XXIV, 30-31) and is proof of the success of the theme treated several times in the seventeenth century starting from Caravaggio and his imitators because it is suitable to be placed both on the walls of a palace and on those of convent refectories.
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