The Archangel Michael overthrowing Lucifer
Born in Vicenza in , Francesco Maffei is considered one of the most appealing 17th century artists from the Veneto. Little, however, is known regarding his training, his early period or his first works as a mature painter. Nonetheless, this prolific painter of considerable merit has been unanimously considered by art historians to be an important Baroque artist.
The present oil is painted on an uncommon and fragile support in the form of a sheet of stone. This is the only known use of this material in the artist’s oeuvre, which was compiled by Paola Rossi in a catalogue raisonné published in In addition to the originality of the support this subject is not found again in Maffei’s output.
Little is known about the provenance of this painting. It was acquired for the Collection in from the Italian art market and is included in the catalogues of the Collection from , at which date it was published by Gertrude Borghero.
The attribution to Maffei has never been doubted and it is unanimously considered an autograph painting. The date of the work, however, has been the subject of debate. In general, it is not easy to date Maffei’s
Dyck, Anton van
Amberes, - Londres,
Christ on the Cross, c.
© Colección Carmen Thyssen-Bornemisza
Carmen Thyssen-Bornemisza Collection
Location: Thyssen-Bornemisza National Museum, Madrid
Oil on panel
,3 x 73 cm
CTB
Artwork history
Galerie Sanct Lucas, Vienna.
Private collection, Vienna,
Baron Heinrich Thyssen-Bornemisza, prior to
Bentinck-Thyssen Collection, Paris.
Kunstmuseum, Dusseldorf, around (on loan).
Musées de l’État, Luxembourg, around (on loan).
Sotheby&#;s sale, lot 91, London, December 6th,
Carmen Thyssen-Bornemisza Collection.
Chefs-d´oeuvre de la Collection Bentinck-Thyssen, Tokyo, Nihonbashi Takashimaya Art Galleries; Kumamoto, Kumamoto Prefectural Museum of Art; Toyama, Art Museum; Miyagi, Miyagi Museum of Art, nº
Collection Bentinck- Thyssen. De Brueghel à Guardi, Lausana, Musée de l´Hermitage; Paris, Musée Marmottan; Luxembourg, Musées de l’État; Brussels, Palais des Beaux-Arts, nº
De Van Dyck a Goya. Maestros Antiguos de la Colección Carmen Thyssen-Bornemisza, Castellón, Museo de Bellas Artes, nº 2, p.
Fe y fervor en la Colecció
Landscape with Mill
«Michel, like a good tree, will always yield the same fruit, but will never vary the species in the slightest; he will only modulate its flavour; his effects will only produce two or three combinations, that is all. A foreground in the shade, a lit horizon and a cloudy or clear sky, or else dramatic, or opposing effects; these three problems will be enough for his programme, and his life will not be long enough for him to realise it according to his wishes», wrote Alfred Sensier in his biography of Georges Michel.
The painting Landscape with Mill is therefore part of this "flavour" which Georges Michel, a precursor of landscape painting, depicted so well. Thus, he moved away from his initial period, keeping the subjects and compositions of the Dutch artists, but differentiating himself from them through a personality that would turn him into a great landscape painter before his time. He generally painted from nature, and introduced a number of effects which distanced him from Ruysdael and Hobbema, whom he drew inspiration on and even acknowledged as his masters. His brushstroke became wider, his skies more turbulent, his horizons brighter. Again, as Se
La Colección Carmen Thyssen-Bornemisza constituye una prolongación de la Colección del Museo Thyssen al tiempo que una apuesta valiente por el arte español.
Aunque Carmen Cervera, alentada por el barón Hans Heinrich Thyssen-Bornemisza, empezó a adquirir obras de arte en torno a , fue en cuando tomó conciencia de su papel como coleccionista. El Museo Thyssen había abierto sus puertas en octubre del año anterior, y en junio se firmó la compra definitiva de las obras por el Estado español. Una vez alcanzada la estabilidad del núcleo fundamental de la colección, el barón procedió al reparto del resto de cuadros y bienes entre los diversos miembros de la familia. Ante el temor a una nueva disgregación de la colección, como la que se había producido con la herencia del primer barón, se decidió que el grueso de las obras pasase a la propiedad de la baronesa, muy implicada por entonces tanto en el Museo, como en las nuevas adquisiciones de obras de arte por parte del barón. Dicho conjunto, integrado por obras de Canaletto, Fragonard, Courbet, Boudin, Monet, Sisley, Renoir, Degas, Gauguin, Rodin, Matisse, Picasso, Kirchner, etc., conforma todavía hoy el núcleo central de la Colección Ca
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