Beskrivning: Se även beskrivning i den engelska versionen

Catalogue raisonné: Description in Flemish paintings C. 1600-C. 1800 III, Nationalmuseum, Stockholm, 2010, cat.no. 31:
 
Technical notes: The support consists of two horizontally
joined oak boards 1.3 cm. thick. The boards have
been sawn radially with a horizontal grain, cross marks
over the joined boards at the reverse. All four sides have
been bevelled by 2–3.5 cm. The panel retains its original
format on all edges except at the top where it has been
slightly cut. The panel has been prepared with a white
chalk ground applied thinly and evenly from edge to edge
and covers the support. The grain of the wood is faintly
visible through the layers of ground and paint. The white
chalk ground is covered by a thin, semi-transparent and
pale yellowish-green imprimatura. Infra-red reflectography
examination reveals underdrawing of figures, trees
and architecture executed in a dry medium. The main outlines
of the figures have been drawn with great ease and
extensive detail. Some of the underdrawing, such as the
little girl with a parasol in her hand, is clearly drawn and
partly visible through the layers of paint. A number of
major and minor pentimenti can be seen in the painting,
demonstrating the artistic process. There are pentimenti in
the building in the background, by the sphinx where the
foliage created by the underdrawing has later been excluded,
on the sleeve of the female beggar’s dress close to her
right shoulder, on her face and feet (the latter eventually
reduced in size), in various trees in the background which
have later been overpainted, the direction of the noblewoman’s
gaze which has been altered from slantwise
downwards right in the underdrawing to slantwise left in
the finished version. The contours of the foliage have been
enhanced. A number of trees left of the woman’s shoulder
in the centre of the painting have been overpainted. The
paint is applied thinly and the underdrawing is partly visible
in the painting. In the foliage there is some impasto in
green. The painting is detailed and finely executed. The
painting is in very good condition and underwent conservation
treatment in 1921 and 1976.

Provenance: KM 1816, no. 404; NM 1866 no.404; NM 1866 no. 361.

Bibliography: Sander IV, p. 89, no. 404; NM Cat.
1867, p. 25; Göthe 1887, p. 30; Göthe 1893, p. 38; Von
Wurzbach I 1906, p. 178; NM Cat. 1958, p. 26; NM
Cat. 1990, p. 51.

This painting is signed 1793, the year before Mattheus
Ignatius van Brée was appointed professor at the
Antwerp Academy of Art. It portrays an elegantly
dressed mother walking with her children in a park
where a nobleman’s house is visible in the background.
The inclusion of a small child in a goat-cart is an allusion
to an earlier and mainly Dutch iconographic tradition.
Next to the child in the cart a negro page with
headgear resembling a turban is depicted. The main
scene in the painting consists of the distribution of
charity. A small upper-class girl dressed in white is
holding money out in her hand to a female pauper
with her two children, one an infant she is nursing at
her breast. The pauper, who is seated and gazing in
appeal at the little girl, is depicted in simple garments
with a scarf tied round her dark hair. The different
social positions are indicated by the garments and postures
of the figures: the noblewoman and her daughter
are wearing fashionable, light and airy clothes and
have parasols while the pauper and her children are
portrayed in simple garments and have no shoes. The
differences in the postures of the figures, with the
woman and her daughter standing while the pauper
and her children are seated, emphasise the upper and
lower class perspective.

Behind the family we can see a sphinx on a pedestal,
a characteristic decoration in the landscaped parks of
the day. In the middle ground, a wooden fence divides
the park from the verdant foliage in the background
and the impressive patrician building with its decoratively
placed sculptures, or urns and its tympanum
adorned with sculptures. Iconographically the painting
alludes to a family portrait tradition already developed
by Jan Mytens and other 17th century painters in
the Netherlands, where the subjects are placed in the
open air in various poses and gestures. This genre was
further developed during the 18th century, often with
more narrative features, to result in a generic blend of
features from both portraits and genre paintings.

The Nationalmuseum’s work, which has been executed
with cogent contours and a great deal of detail,
has a well-developed interplay of light and shadow on
and next to the figures and in the surrounding park
environment. In this way the work accords with contemporary
neo-classicist ideals about the treatment of
light, explicit contours and palette. It is a youthful work
in which Van Brée is not yet fully under the influence
of the ideals he was later to adopt from David’s oeuvre
during his stay in Paris. Another youthful work by Van
Brée, signed and dated in 1794, which is similar in
character to the Nationalmuseum’s work and which
depicts a young upper-class couple in a verdant landscaped
park, was sold at Christie’s in the spring of
2008.1 Technically the painting is in very good condition
with few retouches and individual details in fine,
precise brushwork. The white chalk ground on the two
joined panels has been overpainted with a semi-transparent
imprimatura in a pale shade of green before the
paint has been applied. The many pentimenti in the
work are of particular interest in the way they demonstrate
the process of artistic creation and the evolution
of the motif from the concept to the final product.
KS
1 Christie’s Auction, New York, April 2008, lot 335. [End]Description in Flemish paintings C. 1600-C. 1800 III, Nationalmuseum, Stockholm, 2010, cat.no. 31:
 
Technical notes: The support consists of two horizontally
joined oak boards 1.3 cm. thick. The boards have
been sawn radially with a horizontal grain, cross marks
over the joined boards at the reverse. All four sides have
been bevelled by 2–3.5 cm. The panel retains its original
format on all edges except at the top where it has been
slightly cut. The panel has been prepared with a white
chalk ground applied thinly and evenly from edge to edge
and covers the support. The grain of the wood is faintly
visible through the layers of ground and paint. The white
chalk ground is covered by a thin, semi-transparent and
pale yellowish-green imprimatura. Infra-red reflectography
examination reveals underdrawing of figures, trees
and architecture executed in a dry medium. The main outlines
of the figures have been drawn with great ease and
extensive detail. Some of the underdrawing, such as the
little girl with a parasol in her hand, is clearly drawn and
partly visible through the layers of paint. A number of
major and minor pentimenti can be seen in the painting,
demonstrating the artistic process. There are pentimenti in
the building in the background, by the sphinx where the
foliage created by the underdrawing has later been excluded,
on the sleeve of the female beggar’s dress close to her
right shoulder, on her face and feet (the latter eventually
reduced in size), in various trees in the background which
have later been overpainted, the direction of the noblewoman’s
gaze which has been altered from slantwise
downwards right in the underdrawing to slantwise left in
the finished version. The contours of the foliage have been
enhanced. A number of trees left of the woman’s shoulder
in the centre of the painting have been overpainted. The
paint is applied thinly and the underdrawing is partly visible
in the painting. In the foliage there is some impasto in
green. The painting is detailed and finely executed. The
painting is in very good condition and underwent conservation
treatment in 1921 and 1976.

Provenance: KM 1816, no. 404; NM 1866 no.404; NM 1866 no. 361.

Bibliography: Sander IV, p. 89, no. 404; NM Cat.
1867, p. 25; Göthe 1887, p. 30; Göthe 1893, p. 38; Von
Wurzbach I 1906, p. 178; NM Cat. 1958, p. 26; NM
Cat. 1990, p. 51.

This painting is signed 1793, the year before Mattheus
Ignatius van Brée was appointed professor at the
Antwerp Academy of Art. It portrays an elegantly
dressed mother walking with her children in a park
where a nobleman’s house is visible in the background.
The inclusion of a small child in a goat-cart is an allusion
to an earlier and mainly Dutch iconographic tradition.
Next to the child in the cart a negro page with
headgear resembling a turban is depicted. The main
scene in the painting consists of the distribution of
charity. A small upper-class girl dressed in white is
holding money out in her hand to a female pauper
with her two children, one an infant she is nursing at
her breast. The pauper, who is seated and gazing in
appeal at the little girl, is depicted in simple garments
with a scarf tied round her dark hair. The different
social positions are indicated by the garments and postures
of the figures: the noblewoman and her daughter
are wearing fashionable, light and airy clothes and
have parasols while the pauper and her children are
portrayed in simple garments and have no shoes. The
differences in the postures of the figures, with the
woman and her daughter standing while the pauper
and her children are seated, emphasise the upper and
lower class perspective.

Behind the family we can see a sphinx on a pedestal,
a characteristic decoration in the landscaped parks of
the day. In the middle ground, a wooden fence divides
the park from the verdant foliage in the background
and the impressive patrician building with its decoratively
placed sculptures, or urns and its tympanum
adorned with sculptures. Iconographically the painting
alludes to a family portrait tradition already developed
by Jan Mytens and other 17th century painters in
the Netherlands, where the subjects are placed in the
open air in various poses and gestures. This genre was
further developed during the 18th century, often with
more narrative features, to result in a generic blend of
features from both portraits and genre paintings.

The Nationalmuseum’s work, which has been executed
with cogent contours and a great deal of detail,
has a well-developed interplay of light and shadow on
and next to the figures and in the surrounding park
environment. In this way the work accords with contemporary
neo-classicist ideals about the treatment of
light, explicit contours and palette. It is a youthful work
in which Van Brée is not yet fully under the influence
of the ideals he was later to adopt from David’s oeuvre
during his stay in Paris. Another youthful work by Van
Brée, signed and dated in 1794, which is similar in
character to the Nationalmuseum’s work and which
depicts a young upper-class couple in a verdant landscaped
park, was sold at Christie’s in the spring of
2008.1 Technically the painting is in very good condition
with few retouches and individual details in fine,
precise brushwork. The white chalk ground on the two
joined panels has been overpainted with a semi-transparent
imprimatura in a pale shade of green before the
paint has been applied. The many pentimenti in the
work are of particular interest in the way they demonstrate
the process of artistic creation and the evolution
of the motif from the concept to the final product.
KS
1 Christie’s Auction, New York, April 2008, lot 335. [End]Description in Flemish paintings C. 1600-C. 1800 III, Nationalmuseum, Stockholm, 2010, cat.no. 31:
 
Technical notes: The support consists of two horizontally
joined oak boards 1.3 cm. thick. The boards have
been sawn radially with a horizontal grain, cross marks
over the joined boards at the reverse. All four sides have
been bevelled by 2–3.5 cm. The panel retains its original
format on all edges except at the top where it has been
slightly cut. The panel has been prepared with a white
chalk ground applied thinly and evenly from edge to edge
and covers the support. The grain of the wood is faintly
visible through the layers of ground and paint. The white
chalk ground is covered by a thin, semi-transparent and
pale yellowish-green imprimatura. Infra-red reflectography
examination reveals underdrawing of figures, trees
and architecture executed in a dry medium. The main outlines
of the figures have been drawn with great ease and
extensive detail. Some of the underdrawing, such as the
little girl with a parasol in her hand, is clearly drawn and
partly visible through the layers of paint. A number of
major and minor pentimenti can be seen in the painting,
demonstrating the artistic process. There are pentimenti in
the building in the background, by the sphinx where the
foliage created by the underdrawing has later been excluded,
on the sleeve of the female beggar’s dress close to her
right shoulder, on her face and feet (the latter eventually
reduced in size), in various trees in the background which
have later been overpainted, the direction of the noblewoman’s
gaze which has been altered from slantwise
downwards right in the underdrawing to slantwise left in
the finished version. The contours of the foliage have been
enhanced. A number of trees left of the woman’s shoulder
in the centre of the painting have been overpainted. The
paint is applied thinly and the underdrawing is partly visible
in the painting. In the foliage there is some impasto in
green. The painting is detailed and finely executed. The
painting is in very good condition and underwent conservation
treatment in 1921 and 1976.

Provenance: KM 1816, no. 404; NM 1866 no.404; NM 1866 no. 361.

Bibliography: Sander IV, p. 89, no. 404; NM Cat.
1867, p. 25; Göthe 1887, p. 30; Göthe 1893, p. 38; Von
Wurzbach I 1906, p. 178; NM Cat. 1958, p. 26; NM
Cat. 1990, p. 51.

This painting is signed 1793, the year before Mattheus
Ignatius van Brée was appointed professor at the
Antwerp Academy of Art. It portrays an elegantly
dressed mother walking with her children in a park
where a nobleman’s house is visible in the background.
The inclusion of a small child in a goat-cart is an allusion
to an earlier and mainly Dutch iconographic tradition.
Next to the child in the cart a negro page with
headgear resembling a turban is depicted. The main
scene in the painting consists of the distribution of
charity. A small upper-class girl dressed in white is
holding money out in her hand to a female pauper
with her two children, one an infant she is nursing at
her breast. The pauper, who is seated and gazing in
appeal at the little girl, is depicted in simple garments
with a scarf tied round her dark hair. The different
social positions are indicated by the garments and postures
of the figures: the noblewoman and her daughter
are wearing fashionable, light and airy clothes and
have parasols while the pauper and her children are
portrayed in simple garments and have no shoes. The
differences in the postures of the figures, with the
woman and her daughter standing while the pauper
and her children are seated, emphasise the upper and
lower class perspective.

Behind the family we can see a sphinx on a pedestal,
a characteristic decoration in the landscaped parks of
the day. In the middle ground, a wooden fence divides
the park from the verdant foliage in the background
and the impressive patrician building with its decoratively
placed sculptures, or urns and its tympanum
adorned with sculptures. Iconographically the painting
alludes to a family portrait tradition already developed
by Jan Mytens and other 17th century painters in
the Netherlands, where the subjects are placed in the
open air in various poses and gestures. This genre was
further developed during the 18th century, often with
more narrative features, to result in a generic blend of
features from both portraits and genre paintings.

The Nationalmuseum’s work, which has been executed
with cogent contours and a great deal of detail,
has a well-developed interplay of light and shadow on
and next to the figures and in the surrounding park
environment. In this way the work accords with contemporary
neo-classicist ideals about the treatment of
light, explicit contours and palette. It is a youthful work
in which Van Brée is not yet fully under the influence
of the ideals he was later to adopt from David’s oeuvre
during his stay in Paris. Another youthful work by Van
Brée, signed and dated in 1794, which is similar in
character to the Nationalmuseum’s work and which
depicts a young upper-class couple in a verdant landscaped
park, was sold at Christie’s in the spring of
2008.1 Technically the painting is in very good condition
with few retouches and individual details in fine,
precise brushwork. The white chalk ground on the two
joined panels has been overpainted with a semi-transparent
imprimatura in a pale shade of green before the
paint has been applied. The many pentimenti in the
work are of particular interest in the way they demonstrate
the process of artistic creation and the evolution
of the motif from the concept to the final product.
KS
1 Christie’s Auction, New York, April 2008, lot 335. [End]

Utforska konstnärer och föremål som finns i Nationalmuseums samlingar.

Explore the artists and artworks of Nationalmuseum Sweden.

Mathys Ignatius Bree | Förnäm familj ger allmosa i en park | Nationalmuseum

Mathys Ignatius Bree | A Noble Family Distributing Alms in a Park | Nationalmuseum

Foto: Erik Cornelius / Nationalmuseum 2007