DOI Artikel:
Fabiański, Marcin: The Madonna and Child in Frombork and her Artistic Sources
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.20613#0112
8. Anton van Dyck, Madonna of the Rosary with Saints Rosalie, Rosę, Olwia, Catherine of Siena, Thomas and Dominie. Palermo, Oratorio
del Rosario (Photo author)
a new picture on the same topie. The order exe-
cuted in 1695, was despatched and placed in the
nearby oratory of Santa Zita, where it has remained
ever sińce29.
The authors discussing van Dyck’s masterpiece
have emphasized its dependance upon the Madonna
di Vallicella, painted by his master, Peter Paul Ru-
bens in 1607 30, but the only common features of the
two altarpieces are an architectural setting and saints
standing rather than kneeling in the lower zonę.
Therefore van Dyck’s sources must be found else-
where, especially because his master Rubens recom-
mended in a theoretical treatise De imitatione statua-
rum, like Quintilian, Agucchi and Maratti, that artists
avail of old masters’pieces31.
Correggio’s Madonna of Saint George of 1530
(Dresden, Gemaldegalerie) seems to be a much closer
source for van Dyck than the Madonna di Vallicella.
The Flemish artist may have seen the Cinąuecento
altarpiece either directly in its original place in
Modena, or through the medium of a reproduction
drawing by Rubens (Fig. 9) madę in the early 17th
29Bellori, o. c., pp. 275—276.
30 Cf. e.g. J. K. Ostrowski, Anton Van Dyck, Warszawa 1980,
p. 32; Larsen, L’ opera..-, (as in n. 26), p. 177 no. 441; Brown, o.c.,
(as in n. 26), p. 81; Larsen, The Paintings..., o. c. (as in n. 26);
C. Brown, Van Dyck. Drawings, London 1991, p. 197.
31 Cf. J. M. Miller, Rubens’s Theory and Practice of the
Imitation of Art (Art Bulletin, 44, 1982, 2), pp. 229—247.
108
del Rosario (Photo author)
a new picture on the same topie. The order exe-
cuted in 1695, was despatched and placed in the
nearby oratory of Santa Zita, where it has remained
ever sińce29.
The authors discussing van Dyck’s masterpiece
have emphasized its dependance upon the Madonna
di Vallicella, painted by his master, Peter Paul Ru-
bens in 1607 30, but the only common features of the
two altarpieces are an architectural setting and saints
standing rather than kneeling in the lower zonę.
Therefore van Dyck’s sources must be found else-
where, especially because his master Rubens recom-
mended in a theoretical treatise De imitatione statua-
rum, like Quintilian, Agucchi and Maratti, that artists
avail of old masters’pieces31.
Correggio’s Madonna of Saint George of 1530
(Dresden, Gemaldegalerie) seems to be a much closer
source for van Dyck than the Madonna di Vallicella.
The Flemish artist may have seen the Cinąuecento
altarpiece either directly in its original place in
Modena, or through the medium of a reproduction
drawing by Rubens (Fig. 9) madę in the early 17th
29Bellori, o. c., pp. 275—276.
30 Cf. e.g. J. K. Ostrowski, Anton Van Dyck, Warszawa 1980,
p. 32; Larsen, L’ opera..-, (as in n. 26), p. 177 no. 441; Brown, o.c.,
(as in n. 26), p. 81; Larsen, The Paintings..., o. c. (as in n. 26);
C. Brown, Van Dyck. Drawings, London 1991, p. 197.
31 Cf. J. M. Miller, Rubens’s Theory and Practice of the
Imitation of Art (Art Bulletin, 44, 1982, 2), pp. 229—247.
108