Bidspirit auction | Circle J. de la Corte,

Circle J. de la Corte, 17th century ‘The Wedding of Thetis and Peleus’ - 17th-century Madrid school. Circle of CORTE, Juan de la (Antwerp, c. 1585 – Madrid, 1662). ‘The Wedding of Thetis and Peleus’. Oil on canvas. This work depicts the wedding of the Nereid Thetis and Prince Peleus, parents of Achilles. It was held on Mount Pelion, and all the deities attended, although Eris, the goddess of discord, was not invited. In revenge, she threw a golden apple inscribed with the words ‘for the fairest’, which caused a dispute between Athena, Aphrodite and Hera that led to the Judgement of Paris, ultimately resulting in the Trojan War. The banquet is depicted in an elaborate composition, set in a rich interior of classical architecture illuminated by the light of Apollo, who is located at the far end of the viewer. At the head of the table, in the foreground, is Zeus, accompanied by the eagle and with Hera, queen of the gods, on his left. In the lower right corner, we see a group of satyrs serving wine, accompanied by rich metal vessels crafted with meticulous and descriptive brushstrokes. The rest of the gods are clearly differentiated, with Athena in the foreground on the right and, following a lively zigzag rhythm, typically Baroque, Aphrodite with Eros, Hermes and the bride and groom on the left, and Poseidon on the right. Formally, this is a work that fits perfectly within the 17th-century Madrid school , developed around the court. Thus, we see a sumptuous, allegorical classicist Baroque, where the studies of light and colour take on special relevance, revealing the exalted and luminous tone characteristic of the maturity of this school. Specifically, we can relate this painting to the circle of Juan de la Corte, a painter of Flemish origin. We know nothing today about his early training, as Palomino's claim that he was born in Spain has been refuted by documentary evidence, with his will stating that he was born in Antwerp. There are also documents in which the painter declares that he trained in Flanders, where he ”practised his craft for many years”. For all these reasons, he has been linked to Flemish artists of the period who, through personal acquaintance or the study of their works, had a powerful influence on the development of his personal style. We know that he had been living in Spain since at least 1613. His work at court encouraged him to apply for the position of royal painter, which was left vacant by the death of Bartolomé González in 1627, a goal he did not achieve. There is no documentary evidence, therefore, to support Palomino's claim when he cites him as the king's painter. However, he enjoyed moderate success in the capital of the kingdom, with works by him found in numerous noble inventories of the period. He also received royal commissions, such as the cycle of biblical stories he painted for the Buen Retiro Palace. According to his own confession, his work focused on ‘architecture, battles and countries’, genres in which he was highly regarded by his contemporaries. One of the most One of the most interesting characteristics of his style is the fact that he frequently dealt with mythological themes which, brought to canvas in different cycles, offer us a singularly majestic panorama of a subject matter that was not common in Spanish painting at the time. Another of the outstanding aspects of his work was the proliferation of architectural perspectives with clear links to Nordic treatise writers, among whom Vredeman de Vries. His pictorial style remained anchored in earlier traditions, demonstrating an evident modesty and archaism, but the uniqueness of the subjects he dealt with make him worthy of remembrance. Juan de la Corte is represented in the Prado Museum, the Maritime Museum of Barcelona, the Cerralbo Museum and the Municipal Museum of Madrid, among others. · Dimensions: 97 x 122 cm; 116 x 143 cm (frame)