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      The Temptation of St Anthony, David Teniers (II), c. 1645

      • Dato for opprettelse1645
      • Dimensjoner31.0 x 23.0 cm

      Explore the vibrant landscapes & peasant scenes of David Teniers the Elder! Flemish painter known for humor & color, influenced by Rubens. Discover his art history.

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      reproduction

      The Temptation of St Anthony, David Teniers (II), c. 1645

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      St Anthony Abbot, an Egyptian hermit, and the founder of monasticism, died aged 105 in 356 CE. He is shown wearing the black habit of an Augustinian and is to be identified by his attribute, a Tau cross sewn on his cowl. The saint’s temptations by the devil were recounted in Jacobus de Voragine’s Golden Legend: ‘And anon they [temptations] came in the form of divers beasts wild and savage, of whom one howled, another sniffled and another cried and another brayed and assailed S. Anthony.’11 The devilish phantoms that were to torment the saint in the later Netherlandish tradition owed much to the inventions of Hieronymus Bosch (1440/60-1516).12 There is no reason to doubt David Teniers II’s execution of the present picture depicting a theme which was popular with the artist from his early activity until the 1660s, and which he rendered in both vertical and horizontal formats. The basic formula he followed was established in his earliest dated example of 1634: the elderly, bearded saint is shown kneeling in a grotto distracted from reading a holy book, presumably the Bible, usually propped against a Crucifix.13 The Rijksmuseum picture is one of a smaller category in which a prominent she-devil in contemporary costume is absent. The details of the physiognomy of the saint’s face here seem not exactly repeated in other versions, but it relates closely to that in the Dresden picture, dated by Klinge to the mid-1640s.14 The present picture is probably of about the same time;15 the exceptionally thin support of a single piece of oak timber is from a tree grown in the Baltic/Polish region which would have been ready for use from 1634. In this picture the saint’s chief assailant is a bearded, capped devil, who points out of the picture space to divert him, as on other occasions in Teniers’s oeuvre.16 The characteristics of this figure are unique in Teniers’s extant treatments of the theme. His physiognomy relates closely to an equally prominent devil in a similarly composed Temptation that was acquired by the Berlin Kaiser-Friedrich-Museum (now Bode-Museum) as the work of Brouwer, but is no longer accepted as such.17 A Temptation of St Anthony by Brouwer was listed as no. 280 in the 1640 inventory of pictures in Peter Paul Rubens’s collection after his death, but has since been lost sight of.18 Thus its relation to the Berlin picture and to the Rijksmuseum account of the subject is hypothetical. Whether the devil-tempter in the Berlin picture was an invention of Brouwer’s is an open question; but the similarity of the two faces points to a common source, which may have been the lost painting by Brouwer. In two of his Temptation renderings, Teniers introduced personifications of the Seven Deadly Sins as the saint’s assailants.19 In the present picture, as in the majority of others by Teniers, the grotesque and fantastic devil humans and animals – including those in the variegated aerial jousts above20 – probably had no specific meanings such as seem to have been attached to them by Bosch in his Temptation of St Anthony at Lisbon. At least according to Bax, who gives antecedents and interpretations for the aerial combatants, the devil with a beak, the funnel and the fish.21 Rather Teniers’s intentions were probably accurately conveyed in the rubric to the print by Frans van den Wijngaerde (1614-1679): ‘Blessed is the man who endureth temptation for he is tried, he shall receive the crown of life, which the Lord hath promised to them that love Him... (Beatus vir qui suffert tentationem: quoniam cum probatus fuerit, Accipiet coronam vitae, quam Repromisit Deus diligentibus....)’.22 The first certain owner of this Temptation of St Anthony was a member of the wealthy de Walé family, who as Catholics in Protestant Holland would have maintained the tradition of the veneration of saints. Gregory Martin, 2022

      Om kunstneren

      A Legacy of Light and Life: The World of David Teniers the Elder

      In the heart of the 17th-century Flemish Baroque era, a period defined by dramatic movement and profound emotional depth, David Teniers the Elder emerged as a master capable of finding extraordinary beauty in the most ordinary moments. Born in Antwerp around 1582, Teniers was not merely an observer of his time but a vital participant in its artistic evolution. His life was woven into the very fabric of the Antwerp art scene, stemming from a lineage of creators that included his father, Jan Teniers I, and his brother, Juliaen. This immersion in a domestic atmosphere of pigments, brushes, and canvas provided him with a foundational mastery that would later allow him to navigate both the grandiosity of religious commissions and the intimate charm of rural landscapes.

      The trajectory of Teniers’ talent was significantly shaped by the giants of his age. While his early training began under the watchful eye of his brother, his artistic soul was truly ignited in the studio of Peter Paul Rubens. To study under Rubens was to enter a crucible of innovation, where the interplay of light, shadow, and dynamic composition reigned supreme. This influence is etched into Teniers’ work through a sophisticated use of color and an expressive brushwork that breathes life into every subject. Furthermore, his travels to Rome allowed him to absorb the classical nuances of Adam Elsheimer, adding a layer of atmospheric depth and historical weight to his compositions. These diverse influences coalescent into a style that was uniquely his own—a bridge between the monumental Baroque tradition and a more grounded, humanist observation of the world.

      The Art of the Everyday: Genre and Landscape

      While many of his contemporaries sought glory in grand mythological or historical narratives, Teniers found his true calling in the celebration of the Flemish landscape and the spirited scenes of peasant life. He possessed a rare, empathetic eye for the genre painting, capturing the conviviality of tavern gatherings, the rustic joy of rural festivities, and the quiet dignity of the working class. His canvases often hum with a playful spirit, inviting the viewer to witness the unvarnished reality of 17th-century life through a lens of gentle humor and meticulous detail.

      His landscapes are equally captivating, serving as more than mere backdrops for his figures. Instead, they are living, breathing environments characterized by:

      • Atmospheric Perspective: A masterful ability to create depth, leading the eye from the textured foreground into misty, distant horizons.
      • Luminous Detail: The careful rendering of light filtering through foliage or reflecting off a simple village path.
      • Narrative Integration: A seamless blending of human activity with the natural world, suggesting a profound connection between man and his environment.

      Even when venturing into more solemn territory, such as his religious works like "Valentine kneels to receive a rosary from the Virgin Mary," Teniers maintained his signature ability to blend realism with spiritual reverence. In these pieces, he utilized light and shadow not just for dramatic effect, but to guide the viewer’s devotion, making the divine feel tangibly present within the earthly realm.

      Historical Significance and Artistic Endurance

      The historical importance of David Teniers the Elder lies in his role as a pioneer of a more intimate Baroque aesthetic. He helped shift the artistic gaze from the heavens down to the earth, proving that the lives of peasants and the quietude of the countryside were worthy subjects of high art. His work provided a vital counterpoint to the grandiosity of Rubens, offering a sense of relatability and humanism that resonated deeply with the burgeoning middle class of Flanders.

      His legacy is not only found in his surviving canvases but also in the continuation of the Teniers artistic dynasty. Through his descendants, including the celebrated David Teniers the Younger, his influence on Flemish genre painting persisted for decades. Today, we look back at the Elder as a painter who mastered the art of the subtle—an artist who could find the epic within the everyday and leave behind a visual record of an era defined by both its struggles and its profound, simple joys.

      David Teniers the Elder

      David Teniers the Elder

      1582 - 1649 , Belgium

      Kort om kunstneren

      • Artistic Movement Or Style: Late Mannerism
      • Artists Or Movements Influenced By This Artist: ['Rubens']
      • Artists Who Influenced This Artist:
        • Peter Paul Rubens
        • Elsheimer
      • Date Of Birth: 1582 Antwerp Belgium
      • Date Of Death: 1649 Antwerp Belgium
      • Full Name: David Teniers the Elder
      • Nationality: Flemish
      • Notable Artworks:
        • Valentine kneels to receive a rosary from the virgin mary
        • Landscape with the ruins of mount palatine in rome
        • The Temptation of St Anthony
        • The Gamblers
      • Place Of Birth: Antwerp Belgium