Jan Swart Van Groningen

(15001560 ) - Artworks
SWART VAN GRONINGEN Jan The Temptation

Christie's /Oct 3, 2001
86,871.54 - 130,307.31
In progress

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Variants on Artist's name :

Groningen Van Jan Swart

 

Along with Jan Swart Van Groningen, our clients also searched for the following authors:
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Artworks in Arcadja
23

Some works of Jan Swart Van Groningen

Extracted between 23 works in the catalog of Arcadja
Jan Swart Van Groningen - Armed Mounted Travelers In An Expansive Landscape With Distant Castle

Jan Swart Van Groningen - Armed Mounted Travelers In An Expansive Landscape With Distant Castle

Original 1560
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Gross Price
Lot number: 325
Other WORKS AT AUCTION
Description:
JAN SWART VAN GRONINGEN (Dutch born c. 1500-died c. 1560), Armed Mounted Travelers in an Expansive Landscape with Distant Castle, Oil on wood panel, 16.1 inches x 13.5 inches (41 x 34.3 cm), Estimate $15,000-$20,000, Provenance: Akron Art Institute, Gift of Mrs. Louis Witzeman, According to label on verso
Jan Swart Van Groningen - The Arch At The Philistines (1 Samuel 4-6)

Jan Swart Van Groningen - The Arch At The Philistines (1 Samuel 4-6)

Original
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Gross Price
Lot number: 173
Other WORKS AT AUCTION
Description:
Jan Swart van Gronigen (Groningen circa 1500-circa 1560Antwerp) The Arch at the Philistines (1 Samuel 4-6) with inscription 'Barensteen' on the mount black chalk, pen and grey ink, pen and brown ink framing lines,small tears 10 1/8 x 7½ in. (256 x 192 mm.) Provenance Kaïeman collection, according to an inscription 'Barensteen CollKaieman' (verso). Lot Notes Comparable to a drawing of The Schoolmaster of Falerii in Oxford(exhibited in the National Gallery of Art, Washington, andelsewhere, The Age of Bruegel, 1987, no. 110).
Jan Swart Van Groningen - The Baptism Of Christ

Jan Swart Van Groningen - The Baptism Of Christ

Original
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Gross Price
Lot number: 17
Other WORKS AT AUCTION
Description:
JAN SWART VAN GRONINGEN (Groningen c. 1500-after 1553Antwerp?) The Baptism of Christ oil on panel 37¼ x 19½ in. (94.6 x 49.5 cm.) Pre-Lot Text PROPERTY FROM THE COLLECTION OF MR. AND MRS. LEO S. BING Provenance Purchased in the first quarter of the 20th century by the fatherof the present owner. Exhibited Los Angeles, Los Angeles County Museum, 25 January-27 July 1962,on loan, as 'Antwerp Mannerist'. Lot Notes There are few concrete facts around which to soundly constructthe life and influences of the Dutch artist, Jan Swart vanGroningen. He first emerges as a tangible figure in the art of thewoodcut and it was in this context that he was referred to as 'oneof the glories of our school' by Karel van Mander, who equallyadmitted to never having seen a single painting by Swart's hand. Heseems to have come to Antwerp from the Northeast as a young man,probably around 1520, at the same time that Dürer is known to havebeen in the Netherlands. In his woodcuts and drawings, which wereoften designs for stained glass and tapestries, Swart reveals hisdebt to the South German printmakers and to Dürer in particular,whose work was frequently the inspiration or model for hismeticulously rendered landscapes which are packed with naturalisticdetail. Van Mander records that Jan Swart visited Venice, and certainly hissojourn in Italy seems to have been highly influential on hisoverall compositional style. Of importance to the development ofSwart's figurative style was his encounter with Jan van Scorel, whoreturned from Italy to Antwerp around 1525. In determining a plausible date of execution for the present workthe influence of the Antwerp Mannerists must also be seen asplaying an integral part in Swart's development. If it waspredominantly Dürer who influenced the intense detail of Swart'sforegrounds, it was the Antwerp artists, Dirk Vellert and Jan vanScorel, whose billowing styles helped form the looser handling ofhis middle and backgrounds (see for example, Van Scorel's Baptismof Christ, 1528, in the Frans Halsmuseum, Haarlem). There are fewpaintings by Jan Swart which have been convincingly dated, butFriedländer (Early Netherlandish Painting), New York andWashington, 1975, p. 15) postulates a date of around 1528 for hisSt John the Baptist Preaching (Alte Pinakothek, Munich). Thepresent work is closer in style to The Miracle of the Loaves andthe Fishes in the Groningen Museum voor Stad en Land, Groningen,which Friedländer suggests may have been painted just prior to1528. It seems likely, therefore, that the present painting wasexecuted in the latter part of the 1520s.
Jan Swart Van Groningen - The Temptation

Jan Swart Van Groningen - The Temptation

Original
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Price:

Lot number: 24
Other WORKS AT AUCTION
Description:
JAN SWART VAN GRONINGEN (Groningen c. 1500-after 1553 Antwerp?) The Temptation, with the Rebuke and the Expulsion from the Garden of Eden beyond oil on panel 78 x 65 in. (198.1 x 165.1 cm.) Pre-Lot Text PROPERTY FROM THE MINNEAPOLIS INSTITUTE OF ARTS, SOLD TO BENEFIT THE ACQUISITIONS FUND * Provenance E. Knocker. T.P. Grange, Esq., London. Literature B. Wallen, Jan van Hemessen. An Antwerp Painter between Reform and Counter Reform, Ann Arbor, Michigan, 1983, figs. 94-95. P.C. Sutton, Dutch Art in America, Washington, 1986, p. 155. Lot Notes There are few concrete facts around which to soundly construct the life and influences of the Dutch artist, Jan Swart van Groningen. He first emerged as a tangible figure in the art of the woodcut and it was in this context that he was referred to as 'one of the glories of our school' by Karel van Mander, who equally admitted to never having seen a single painting by Swart's hand. He seems to have come to Antwerp from the Northeast as a young man, probably around 1520 (Friedländer, Early Netherlandish Painting, XIII, New York and Washington, 1975, pp. 13-16), the same time that Dürer is known to have been in the Netherlands. In his woodcuts and drawings, which were often designs for stained glass and tapestries, Swart reveals his debt to the South German printmakers and to Dürer in particular, whose work was frequently the inspiration or model for his meticulously rendered landscapes that team with naturalistic detail (see, for instance, Dürer's Adam and Eve of 1504 (Hollstein 1) where the two figures are set against a deep forest with numerous animals positioned in the middle distance and at their feet; and St Eustace (Hollstein 60) where the praying saint is accompanied by his pack of hounds). Like the wildlife in the present work, Dürer's animals are an important component of the pictorial narrative. Van Mander records that Jan Swart visited Venice, and certainly his sojourn in Italy seems to have been highly influential on his overall compositional style. In the present work, the elongated figures are frozen in complex poses and are firmly inserted in the rhythmically animated terrain. Their gestures and relationships suggest a knowledge of Raphael. The muscular figure of Adam, seated on a bank of earth and with arm reaching out for the forbidden fruit, recalls the same figure in Raphael's Adam and Eve of 1509-10, in the Stanza della Segnatura in the Vatican, Rome. Eve, shown by both artists with left hand raised, is transformed from Raphael's voluptuous seductive maiden into an earthy temptress by the Dutch artist. Of equal importance to the development of Swart's figurative style was his encounter with Jan van Scorel, who returned from Italy to Antwerp around 1525. After his Italian trip, van Scorel peopled his compositions with figures adapted directly from compositions by the great Renaissance artists of Rome and Venice. For instance, his Cleopatra of 1521-1524, in the Rijksmuseum, Amsterdam, recalls Palma Vecchio's 1510 Venus, now in the Gemäldegalerie, Dresden, while his Saint Sebastian of 1542 (Boymans-van Beuningen Museum, Rotterdam) can be directly related to a figure from Michelangelo's Last Judgement of 1541 in the Vatican, Rome. In determining a plausible date of execution for the present work the influence of the Antwerp Mannerists must also be seen as playing an integral part of the development of this artist. If it was predominantly Dürer who influenced the intense detail of Swart's foregrounds, it was the Antwerp artists, Dirk Vellert and Jan van Scorel, whose billowing styles helped form the looser handling of his middle and backgrounds (see for instance, Van Scorel's Baptism of Christ, 1528, in the Frans Halsmuseum, Haarlem). In true Netherlandish style, the narrative in the Minneapolis Adam and Eve continues through a series of episodic scenes peopled by figures of ever decreasing scale. There are few paintings by Jan Swart which have been convincingly dated, but Friedländer (op. cit. p. 15) postulates a date of around 1528 for his St John the Baptist Preaching (Alte Pinakothek, Münich). The present work is closer in style to The Miracle of the Loaves and the Fishes in the Gronigen Museum voor Stad en Lande, Groningen, which Friedländer suggests may have been painted just prior to 1528. It seems likely, therefore, that the present painting was executed in the latter part of the 1520s.
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