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拍品專文
Jan Miel worked in Rome from circa 1633 under the influence of Pieter van Laer and the Bamboccianti, a group expatriate artists from the Netherlands, Flanders, France and Germany, who specialised in painting usually small-scale works of everyday subjects of contemporary Italian life. Miel worked primarily on such a scale in his earlier years in Rome, but during the 1640s his work increased in scale to encompass more ambitious multi-figural compositions of Roman life. These larger works were lauded by contemporaries, like Filippo Baldinucci, who wrote that Miel ‘had…in his invention a talent that we can almost say was uniquely his, and this was to depict from life brigades of slovenly idlers, urchins, beggars, and others absolutely just as they look, with appropriate physiognomies, gestures, ways of dressing, and implements, along with their rest-takings and revels in the countryside’ (L. Trezzani in G. Briganti et al., The Bamboccianti: The Painters of Everyday Life in Seventeenth Century Art, Rome, 1983, p. 102).
This panoramic view of Prati encompasses not only a carefully rendered topographical study of the area, but an animated, lively throng of figures. Some of Miel’s figure types were recurrent elements throughout his paintings, like the woman cooking over an open stove, (see The Tooth Puller, Private collection) or the young lady holding a small lap dog (see Peasants dancing; Madrid, Museo Nacional del Prado, inv. no. P01572).
This large canvas has been identified as one of a series of paintings commissioned from the painter in circa 1650 or later by the Marchese Tommaso Raggi (1595/6-1679), a Genoese nobleman who relocated to Rome in around 1629. It was possibly part of a series with A Carnival in Piazza Colonna (Hartford, Wadsworth Atheneum, inv. no. 1938.603), described by Baldinucci in his biography (see E. Haverkamp-Begemann, op.cit., for further details of the group). The picture was dated by Kren to the 1640s (op. cit.), but comparison with an upright painting of A Carnival in Rome dated 1653 in Madrid (Museo Nacional del Prado, inv. no. P01577) suggests that a date to the mid-1650s would perhaps be more likely.
This panoramic view of Prati encompasses not only a carefully rendered topographical study of the area, but an animated, lively throng of figures. Some of Miel’s figure types were recurrent elements throughout his paintings, like the woman cooking over an open stove, (see The Tooth Puller, Private collection) or the young lady holding a small lap dog (see Peasants dancing; Madrid, Museo Nacional del Prado, inv. no. P01572).
This large canvas has been identified as one of a series of paintings commissioned from the painter in circa 1650 or later by the Marchese Tommaso Raggi (1595/6-1679), a Genoese nobleman who relocated to Rome in around 1629. It was possibly part of a series with A Carnival in Piazza Colonna (Hartford, Wadsworth Atheneum, inv. no. 1938.603), described by Baldinucci in his biography (see E. Haverkamp-Begemann, op.cit., for further details of the group). The picture was dated by Kren to the 1640s (op. cit.), but comparison with an upright painting of A Carnival in Rome dated 1653 in Madrid (Museo Nacional del Prado, inv. no. P01577) suggests that a date to the mid-1650s would perhaps be more likely.