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Jacob I De Backer

(1560 -  1590 ) Wikipedia® : Jacob I De Backer
de BACKER Jacob I The Nativitychrist Carrying The Cross

Lempertz
Nov 14, 2015
Find artworks, auction results, sale prices and pictures of Jacob I De Backer at auctions worldwide.
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Artworks in Arcadja
122

Some works of Jacob I De Backer

Extracted between 122 works in the catalog of Arcadja
Jacob I De Backer - Salome With The Head Of John The Baptist.

Jacob I De Backer - Salome With The Head Of John The Baptist.

Original
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Price:

Lot number: 3026
Other WORKS AT AUCTION
Description:
JACOB DE BACKER (circa 1540 Antwerp circa 1595) Salome with the head of John the Baptist. Oil on panel. 46.2 x 63 cm. Provenance: - Collection of Max Minkowski (1844 – 1924), Königsberg - Rudolph Lepke auction, Berlin, 12.5.1925, Lot 243 (as Jean Baptist Lambrechts). - European private collection.
Jacob I De Backer - The Earthly Paradise

Jacob I De Backer - The Earthly Paradise

Original
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Gross Price
Lot number: 7
Other WORKS AT AUCTION
Description:
Jacob de Backer (Antwerp 1560 – circa 1590/91) The Earthly Paradise, oil on panel, 76 x 107 cm, framed We are grateful to Luuk Pijl for confirming the attribution and for his help in cataloguing the present painting. A certificate is available. Biographical data about Jacob de Backer is very scant, which makes him one of the most mysterious painters of the 16th century. It is assumed that he was born around 1555 and died circa 1585. He was one of the most important Mannerist masters in 16th-century Antwerp and occupies a firm position between the generations of Frans Floris and Rubens. He was active during the 1570s and first part of the 1580s. Despite that he presumably died early at about 30 years, he was very prolific. Karel van Mander, the indispensable source regarding 16th century painting, relates in his Schilder-boeck, published in Haarlem in 1604, fol. 231/232, that de Backer was abandoned as a young boy by his father, also a painter, who had to flee Antwerp because of an impending court trial. According to Van Mander the young Jacob de Backer worked for a number of years in the studio of the painter and picture dealer of Italian origin known as Antonio van Palermo (1503/13 – before 1589). He later entered the workshop of Hendrick van Steenwijck the Elder (1550–1603). Van Mander claims that Palermo pushed him so hard that the young de Backer died in the arms of his master\’s daughter at the age of thirty. As Van Mander indicates this had happened a long time ago it probably had been before van Steenwijck left Antwerp in 1586. If this is correct it places the time of death of de Backer prior to 1586. Little is known about his training. Strangely, there is no record of him ever becoming a master in the Antwerp Guild of St. Luke. While his work shows a strong influence of the Mannerism of Rome and Florence, in particular the style of Giorgio Vasari, there is no proof that de Backer visited Italy, as did many of his contemporary Flemish artists. His work is furthermore strongly influenced by the multi-figured compositions by Frans Floris. Many of his compositions deal with complex allegorical subjects. This has been interpreted as evidence that the artist enjoyed a humanistic education and his patrons were from Antwerp\’s educated class. Unfortunately, none of his pictures mentioned by Karel van Mander in the Schilder-boeck have been securely identified and no painting or drawing attributed to the master is signed. Only three known pictures can be traced back by means of provenance to the 16th century. These are two versions of a Last Judgment – one painted for the funerary monument of fellow Antwerp painter Pieter Goetkind and the other for the funerary monument of the famous Antwerp printer and publisher Christophe Plantin, who died in 1589. The version currently in the Antwerp Cathedral originates from the Plantin monument. It is now believed that the side wings to this picture were the work of another artist. The version made for the Goetkind monument is possibly the Last Judgement (circa 1583) recently auctioned by Christie\’s on 28 January 2015 in New York, lot 107 (US$ 220,000). These two variant interpretations of the subject of the Last Judgement are believed to be the originals after which the many known copies were made. A series of the Seven Deadly Sins was bought in Antwerp by Alessandro Farnese\’s secretary Cosimo Masi in 1594 and taken to Italy. These paintings are now in the Museo di Capodimonte in Naples. The creation of Adam and Eve is recounted in Genesis 2:4–25. Here is rendered how God created man and women, but also the Garden of Eden with rivers, trees, plants and livestock. The composition of the present painting is best known by another version in the Groeningemuseum in Bruges (oil on oak panel, 77.5 x 107.5 cm). Both autograph works are obviously of high painterly quality, and both are stylistically close to the above-mentioned picture sold in 2015 at Christie\’s, New York. Two further different versions, with similar dimensions, of the present composition were offered at recent sales: one in a Munich sale, Hampel, 4 July 2008, lot 210, and another in Vienna, Im Kinsky, 8 November, 2011, lot 2. Both have circulated in the art trade the last years. Given their inferior painterly quality it is difficult to determine whether these two versions originate from De Backer\’s workshop or whether they have been executed by a different artist copying the present or the Bruges version. Specialist: Dr. Alexander Strasoldo
Jacob I De Backer -  Adam And Eve

Jacob I De Backer - Adam And Eve

Original -
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Gross Price
Lot number: 34
Other WORKS AT AUCTION
Description:
Jacob de Backer (Antwerp circa 1555–after 1590) Adam and Eve, oil on panel, 65 x 48 cm, framed We are grateful to Klaus Ertz for confirming the attribution. A written certificate (August 2016) accompanies the present painting. Jacob de Backer is one of the least documented artists of the 16th-century Antwerp School. This is surprising, as the corpus of works attributed to him shows a highly accomplished artist, ingeniously combining late Mannerist elements with early Baroque influences (see Eckhard Leuschner, Defining De Backer: New Evidence on the Last Phase of Antwerp Mannerism Before Rubens, in Gazette des Beaux-Arts, CXXXVII, no. 1587, 2001). Klaus Ertz writes: \“The present Paradisiacal Landscape with the Fall of Man is known to me in the original. After thorough examination of the painting I am convinced that it is an original by the Flemish master Jacob de Backer (born circa 1540/50 in Antwerp, died before 1600 in France), painted in Italy before 1590. Its condition can be described as good. Practically nothing is known about de Backer\’\’\’\’\’\’\’\’s life. In his \‘Schilder-Boek\’\’\’\’\’\’\’\’, Karel van Mander praises him as one of the best colourists. He seems to have mostly been active in Antwerp. His figures were inspired by Frans Floris. The artist probably travelled to Italy around 1560, which would account for the fact that his work seems influenced by Giorgio Vasari und other Roman Mannerists: this is revealed by the mannered pose of the figures of Adam and Eve, the pronounced muscularity of the figures, and the positions of legs and arms. Jacob de Backer, who is known to have contributed to several paintings by Jan Brueghel the Elder, had a lasting influence on the figure style of Peter Paul Rubens\“. De Backer occupies a key moment in the development of Antwerp painting, between the generation of Frans Floris (1519/20–1570) and that of Rubens (1577–1640). According to van Mander, Jacob (or Jacques) de Backer was born in Antwerp, the son of a \“very good painter\” who emigrated to France and died there. Jacob was apprenticed to a painter and picture dealer of Italian origin but of Protestant faith known as Antonio da Palermo (d. 1588/9). Van Mander tells us that Jacob\’\’\’\’\’\’\’\’s works \“are very sought after and wanted everywhere and enrich the cabinets or galleries of art lovers in many places […]. In short, he is easily one of the best colourists that Antwerp has known: he had a fleshy manner of painting because he highlighted not just with white but with flesh colour, so that he earned eternal fame among painters\” (see: K. van Mander, Schilder-Boeck, Haarlem, 1603/4, 231v–232r, ed. and trans. H. Miedema, The Lives ofthe Illustrious Netherlandish and German Painters, Doornspijk, 1994, I, pp. 185/86). Specialist:
Jacob I De Backer -  Salome With The Head Of John The Baptist

Jacob I De Backer - Salome With The Head Of John The Baptist

Original
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Lot number: 1228
Other WORKS AT AUCTION
Description:
Description: When Salome danced at the banquet of King Herod, she demanded the head of John the Baptist as a reward (Matt. 13:9-12; Mark 6:24-28). Jacob de Backer depicts the executioner placing the saint's head into the dish that Salome holds. He looks at her intently, but she turns away from the gruesome scene.
The elegant figure of Salome, the vigorous gesture of the executioner and the work's palette all illustrate the painter's extensive knowledge of late 16th century Florentine art. De Backer came into contact with teh art of Giorgio Vasari, Alessandro Allori and Francesco Salviati during a sojourn to Florence which he made following his training in Antwerp in the 1560s. It is not known whether he carried out commissions for Vasari, but the works which he created upon his return to Antwerp show that he had fully internalised the style of courtly Florentine Mannerism.

Notes: VAT: Margin scheme
Lot 1228: Jacob de Backer, Salome with the Head of John the Baptist
Jacob I De Backer - The Nativitychrist Carrying The Cross

Jacob I De Backer - The Nativitychrist Carrying The Cross

Original -
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Price:

Lot number: 1427
Other WORKS AT AUCTION
Description:
Lot 1427: Jacob de Backer, The NativityChrist Carrying the Cross
Jacob De Backer
Description:

CertificateProf. Dr. Justus Müller Hofstede, Bonn 2007 (Nativity).These two panels can be dated to around 1580, they display identical dimensions and correspond exactly and these factors, along with the similarity of their compositions, indicate that the two pieces belong together. They probably formed part of a documented series comprising at least five allegorical scenes from the life of Jesus (cf.: Müller Hofstede, op. cit., p. 254, note 1). The paintings were formerly in the possession of the Austrian Stadtholder of the Netherlands Archduke Ernst, who resided in Brussels from 1593 - 1595. All traces of the series were lost until these two panels were rediscovered in differing locations in 2007.
Notes:

VAT: Margin scheme
Provenance:

Private ownership, Bergisches Land (Carrying the Cross). - The Dr. Bernhard Decker Collection, Frankfurt.
66 x 50 and 66 x 51 cm
Jacob de Backer
Literature:

Justus Müller Hofstede: Jacques de Backer. Ein Vertreter der Florentinisch-Römischen Maniera in Antwerpen. In: Wallraf-Richartz-Jahrbuch, vol. 35, 1973, p. 227-260.
Medium:

Oil on panel
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