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Gaspar Van den Hoecke (Dutch, 1595 - 1648).
A still life of tulips, pink peonies, white lilies, and poppies.
Oil on oak panel, unsigned.
"Still lifes attributed to Van den Hoecke show a direct knowledge of Jan Brueghel the Elder’s flower pictures, in particular those dating from circa 1605 to 1615, but Gaspar’s compositions are different in that "..the flowers are painted more robustly than those of Brueghel, with less use of glazes, and it is difficult to imagine that Van den Hoecke did not know the work of Beert". Van den Hoecke’s viewpoint, taken slightly from above, is characteristic of Brueghel’s still lifes of flowers, particularly those painted from 1605 to 1610. The over-sized bouquet in the vase, flanked by loose blooms and other objects in the foreground, also find parallels in Brueghel’s works.
Van den Hoecke’s unusual inclusion of the coin and medal in the foreground must have appealed to an erudite clientele and it is a motif that derives from Jan Brueghel the Elder. The silver medal, with a profile portrait of Pope Pius V, is one of many produced by the papal medallist Gian Federico Bonzagni, called Parmese (active during the second half of the 16th century). This particular design was executed in 1571, possibly in memory of the Battle of Lepanto: the inscription indicates that it was cast during the sixth year of the papacy of Pius V, elected to his post in 1566. The gold coin is rarer still and is an example of a byzantine solidus cast during the time of Anastasius I (491-518 A.D.).”

Gaspar Van den Hoecke (Dutch, 1595 - 1648).

A still life of tulips, pink peonies, white lilies, and poppies.

Oil on oak panel, unsigned.

"Still lifes attributed to Van den Hoecke show a direct knowledge of Jan Brueghel the Elder’s flower pictures, in particular those dating from circa 1605 to 1615, but Gaspar’s compositions are different in that "..the flowers are painted more robustly than those of Brueghel, with less use of glazes, and it is difficult to imagine that Van den Hoecke did not know the work of Beert". Van den Hoecke’s viewpoint, taken slightly from above, is characteristic of Brueghel’s still lifes of flowers, particularly those painted from 1605 to 1610. The over-sized bouquet in the vase, flanked by loose blooms and other objects in the foreground, also find parallels in Brueghel’s works.

Van den Hoecke’s unusual inclusion of the coin and medal in the foreground must have appealed to an erudite clientele and it is a motif that derives from Jan Brueghel the Elder. The silver medal, with a profile portrait of Pope Pius V, is one of many produced by the papal medallist Gian Federico Bonzagni, called Parmese (active during the second half of the 16th century). This particular design was executed in 1571, possibly in memory of the Battle of Lepanto: the inscription indicates that it was cast during the sixth year of the papacy of Pius V, elected to his post in 1566. The gold coin is rarer still and is an example of a byzantine solidus cast during the time of Anastasius I (491-518 A.D.).”

  1. ptk posted this