Two Roman Princesses - Ferdinand Voet (antwerp 1639 - Paris 1689)
Oil on canvas. Roman school circa 1665-1680, attributed to Jacob Ferdinand Voet.
Our delicate double portrait depicts two little girls, probably two sisters from a Roman patrician family, captured with the luminous softness and restrained elegance that characterize Italian period of Ferdinand Voet. The ivory-colored faces, with their wide, bright eyes, immediately recall the representations of the Mancini sisters (Cardinal Mazarin's famous nieces) or the young princesses Colonna and Chigi that Voet painted in Rome between 1665 and 1680. And their morphology - full oval, soft cheekbones, finely hemmed lips - belong to that feminine canon Voet's secret, giving our young patrician women a timeless aristocratic grace.
Supple, curly hair with warm highlights, fine lace, delicately knotted ribbons, just like the light that detaches the figures from a neutral background, are directly reminiscent of Voet's Roman style. The affectionate gesture of the eldest laying her hand on the shoulder, and the rose, symbol of innocence and virtue, held by the two reinforce the intimated and refined atmosphere of the composition.
The quality of execution, the subtlety of the skin tones and the stylisticand stylistic coherence situate the work under Voet's brush in the period when the great Roman families called on him to immortalize their young patricians on canvas.
The work is presented in a 17th-century Roman frame, Salvator Rosa model, gilded with mecca.
Dimensions: 70 x 57,2 cm - 87 x 75 cm with frame
Biography: Jacob Ferdinand Voet (Antwerp 1639 - Paris 26.09.1689) was the son of the painter Elias Voet. From 1663 to 1679, he lived in Rome, where he enjoyed reputation and painted portraits of members of patrician families: Colonna, Odescalchi, Chigi and Mancini. In the years, Milan, Florence and Turin, with a stopover in his native Antwerp in 1684. The following year, he moved to Paris, where he settled permanently and became a court painter. Dutch biographer Arnold Houbraken (1660 - 1719) states that Voet painted history and landscapes, but curiously none of these compositions are known to us, only its elegant portraits bear witness to his art. His works can be admired in major museums: London's National Portrait Gallery, the Rijksmuseum in Amsterdam, the Musée du Louvre in Paris and the Hermitage Museum in St. Petersburg, to name but a few.
Bibliography:
- Papi Gianni, Ritrattia Roma nel Seicento, Edifir Edizioni, 2010
- Petrucci Francesco, Ferdinand Voet (1639-1689) detto Ferdinando de' Ritratti, Ugo Bozzi, 2005
- Petrucci Francesco, Ferdinand Voet: ritrattista di corte tra Roma e l'Europa del Seicento,catalog of the exhibition at the Museo Nazionale del Castello Sant'Angelo, Ugo Bozzi, 2005
- Petrucci Francesco,Pittura di Ritratto a Roma. Il Seicento, Andreina & Valneo Budai Editori, 2008
Our delicate double portrait depicts two little girls, probably two sisters from a Roman patrician family, captured with the luminous softness and restrained elegance that characterize Italian period of Ferdinand Voet. The ivory-colored faces, with their wide, bright eyes, immediately recall the representations of the Mancini sisters (Cardinal Mazarin's famous nieces) or the young princesses Colonna and Chigi that Voet painted in Rome between 1665 and 1680. And their morphology - full oval, soft cheekbones, finely hemmed lips - belong to that feminine canon Voet's secret, giving our young patrician women a timeless aristocratic grace.
Supple, curly hair with warm highlights, fine lace, delicately knotted ribbons, just like the light that detaches the figures from a neutral background, are directly reminiscent of Voet's Roman style. The affectionate gesture of the eldest laying her hand on the shoulder, and the rose, symbol of innocence and virtue, held by the two reinforce the intimated and refined atmosphere of the composition.
The quality of execution, the subtlety of the skin tones and the stylisticand stylistic coherence situate the work under Voet's brush in the period when the great Roman families called on him to immortalize their young patricians on canvas.
The work is presented in a 17th-century Roman frame, Salvator Rosa model, gilded with mecca.
Dimensions: 70 x 57,2 cm - 87 x 75 cm with frame
Biography: Jacob Ferdinand Voet (Antwerp 1639 - Paris 26.09.1689) was the son of the painter Elias Voet. From 1663 to 1679, he lived in Rome, where he enjoyed reputation and painted portraits of members of patrician families: Colonna, Odescalchi, Chigi and Mancini. In the years, Milan, Florence and Turin, with a stopover in his native Antwerp in 1684. The following year, he moved to Paris, where he settled permanently and became a court painter. Dutch biographer Arnold Houbraken (1660 - 1719) states that Voet painted history and landscapes, but curiously none of these compositions are known to us, only its elegant portraits bear witness to his art. His works can be admired in major museums: London's National Portrait Gallery, the Rijksmuseum in Amsterdam, the Musée du Louvre in Paris and the Hermitage Museum in St. Petersburg, to name but a few.
Bibliography:
- Papi Gianni, Ritrattia Roma nel Seicento, Edifir Edizioni, 2010
- Petrucci Francesco, Ferdinand Voet (1639-1689) detto Ferdinando de' Ritratti, Ugo Bozzi, 2005
- Petrucci Francesco, Ferdinand Voet: ritrattista di corte tra Roma e l'Europa del Seicento,catalog of the exhibition at the Museo Nazionale del Castello Sant'Angelo, Ugo Bozzi, 2005
- Petrucci Francesco,Pittura di Ritratto a Roma. Il Seicento, Andreina & Valneo Budai Editori, 2008
14 900 €
Period: 17th century
Style: Louis 14th, Regency
Condition: Excellent condition
Material: Oil painting
Width: 75
Height: 87
Reference (ID): 1771198
Availability: In stock
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