33

After Maarten de Vos

(Flemish, 1532-1603)

"Children of Saturn"

oil on copper on cradled wood support
early 17th century, after a series of engravings "Planetarum Effectus et Forum in Signis Zodiaci", after lost drawings by de Vos.
Framed.
34-3/8" x 41-1/8"

  • Provenance: Manheim Galleries, New Orleans, Louisiana; Historic Solana, Montecito, California.

    Notes: The utilization of copper as a support for oil paintings emerged as a prominent technique within European artistic circles during the 16th and 17th centuries, as it offered several advantages to artists. Compared to canvas, copper's smooth and rigid surface facilitated the creation of meticulously detailed brushwork. Additionally, its non-absorbent nature prevents oil pigments from sinking into the ground, resulting in a more vibrant and intense appearance. While small-scale copper paintings were commonplace during this period, the larger size of the work offered here differentiates it from the majority of its contemporaries. The initial adoption of copper as a painting surface can be traced to Florence in the latter half of the 16th century, with subsequent widespread dissemination throughout Europe likely influenced by the Flemish painter Paul Bril (1554-1626). Bril's Roman studio attracted numerous Dutch and Flemish artists, who are believed to have carried the practice back to their respective artistic centers in Utrecht and Antwerp.

    This mythological tableau, divided into distinct sections, presents a fascinating juxtaposition of Roman and Christian iconography. Based on engravings from the series "Planetarum Effectus et Forum in Signis Zodiaci," itself derived from a lost drawing by Flemish artist Maarten de Vos, the painting presents a visual narrative of the religious transition within the Roman Empire around the 4th century CE. During this period, Christianity experienced a dramatic rise within the Roman sphere, culminating in its legal recognition in 313 CE. This landmark event, the Edict of Milan, allowed Christians to practice their faith openly. Further solidifying Christianity's position, the Council of Nicaea in 325 CE established a formalized set of beliefs and practices with the endorsement of the Roman Emperor. Finally, Christianity's ascendancy peaked in 380 CE when it became the Roman Empire's official religion. This imperial decree standardized Christian practice and fostered a cultural intertwining between Christian and Roman traditions.

    In the upper segment of the painting, Saturn is illustrated as an elderly figure, adhering faithfully to conventional iconographic precepts; in his right hand he clasps a scythe, his inveterate attribute, while simultaneously leaning over a young boy, sinking his teeth into the child as the defenseless figure struggles to break free. This motif of child cannibalism and infanticide was a recurring theme in mythological depictions of Saturn, famously interpreted by masters such as Peter Paul Rubens and Francisco Goya. According to legend, Saturn, fearing his overthrow by one of his offspring, consumed each upon their birth. However, Rhea, the mother of his children, managed to conceal one child, Jupiter, who ultimately fulfilled the prophecy by dethroning his father and freeing his siblings. The celestial backdrop reinforces the thematic connection to Saturn, showcasing the astrological signs of Aquarius and Capricorn, both traditionally associated with his planetary dominion.

    Juxtaposed against the pagan imagery above, the lower register of the composition unfolds upon a vast landscape populated by various figures seemingly oblivious to the drama transpiring overhead. Positioned prominently in the bottom right corner, a solitary figure draped in a red cloak sits beside a cave. The crimson hue of his attire, traditionally associated with Christian martyrdom and penance, coupled with his apparent eremitic existence, strongly suggests an identification with Saint Jerome, a Church Father renowned for his years of solitary contemplation and rigorous asceticism. Notably, the original engraving depicted this figure studying planetary books, a thematic link to the celestial realm above. This deliberate alteration by the artist, replacing the astrological texts with written words, suggests a purposeful shift in identity from a nameless figure associated with Roman polytheism to a Christian saint. This intervention further emphasizes the narrative of polytheistic decline and Christian ascendancy, adding depth and signifying the artist's creative agency in shaping the visual narrative.

    On the opposite side of the canvas, an impressive fight between a lion and serpent occupies the bottom left corner. Inclusion of the intertwined lion and serpent evokes Psalm 91:13-14: "13 You will tread on the lion and the cobra; you will trample the great lion and the serpent. 14 'Because he loves me,' says the Lord, 'I will rescue him; I will protect him, for he acknowledges my name.'" This imagery underscores a central tenet of Christian faith: that unwavering trust in God grants believers the strength to overcome even the most formidable challenges. The scene, therefore, can be interpreted as an allegory for the necessity of faith and reliance upon divine providence in the face of life's uncertainties. Furthermore, the emphasis on trust in the chosen verse from Psalms starkly contrasts with the violent act perpetrated by Saturn above. By juxtaposing these scenes, the artist constructs a visual argument, portraying polytheistic practices as inherently violent and contrasting them with the security and peace offered by the Christian faith.

    This work transcends its mythological foundation, evolving into a visually compelling narrative of religious transformation within the Roman Empire. Through a masterful manipulation of iconography and symbolism, the artist bridges the realm of myth and the historical reality of the Roman world's religious evolution. This interplay between past and present illuminates the historical context of Christianity's rise and potentially imbues the narrative with 16th-century religious or societal interpretations.
  • Condition: **Copper panel that was previously cradled. Toning of the varnish layer. Surface dirt. Scattered areas of loss lower center (rocks). Horizontal scratch lower right (between figures). Areas of inpainting left corner along edges. Scattered areas of inpainting upper center (dragon and Saturn). Inpainting scattered throughout. Imperfections in the copper support throughout.
    Modern gilt frame with surface marks and abrasions.


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