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拍品專文
The Haarlem-born printmaker, draftsman and painter Pieter Claesz. Soutman is today best known for his widely disseminated reproductive prints after Sir Peter Paul Rubens. Soutman appears to have been in Antwerp by the middle of the 1610s, where he worked in Rubens’ studio before becoming an independent master in the city’s painters’ guild in 1619. He continued to work closely with Rubens and in 1624 entered the service of King Sigismund III of Poland, who was then resident in Antwerp. In 1628, he returned to Haarlem, where he collaborated with a number of the city’s most talented printmakers, including both Jonas Suyderhoef and, most fruitfully, Cornelis Visscher II.
The present painting is closely related to Rubens’ depiction of the same subject of circa 1610-15, today in the Legion of Honor, Fine Arts Museums of San Francisco (inv. no. 44.11). Both paintings illustrate the Biblical narrative recounted in the Gospel of Matthew 17:24-27. In Soutman’s painting, Christ raises his right (rather than left) hand upward and points to the heavens in illustration of the moment he says ‘Render therefore unto Caesar the things that are Caesar’s, and unto God the things that are God’s.’ Unlike Rubens, who placed Christ at the composition’s far right and focused exclusively on the interaction between him and the Pharisees and Herodians, Soutman situated Christ at center, including a group of four disciples behind him to balance the group of five figures at left.
The marked Flemish expressiveness of this painting may indicate that it is a rare example of Soutman’s activity as a painter while in Antwerp. The majority of his works in this medium are datable to the 1640s following his return to Haarlem.
The present painting is closely related to Rubens’ depiction of the same subject of circa 1610-15, today in the Legion of Honor, Fine Arts Museums of San Francisco (inv. no. 44.11). Both paintings illustrate the Biblical narrative recounted in the Gospel of Matthew 17:24-27. In Soutman’s painting, Christ raises his right (rather than left) hand upward and points to the heavens in illustration of the moment he says ‘Render therefore unto Caesar the things that are Caesar’s, and unto God the things that are God’s.’ Unlike Rubens, who placed Christ at the composition’s far right and focused exclusively on the interaction between him and the Pharisees and Herodians, Soutman situated Christ at center, including a group of four disciples behind him to balance the group of five figures at left.
The marked Flemish expressiveness of this painting may indicate that it is a rare example of Soutman’s activity as a painter while in Antwerp. The majority of his works in this medium are datable to the 1640s following his return to Haarlem.