Museum of Art
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Artist: Abraham Jansz. van Diepenbeeck (Flemish, 1596-1675)
Medium: pen and brown ink, brown and grey wash, over graphite on paper
Dimensions: 9 1/2 in. x 6 1/4 in. (24.13 cm. x 15.88 cm.)
Credit Line: Bequest of the Honorable James 91亚色传媒 III
Accession Number: 1811.83
- "Diepimbec"
Type: inscription
Location: old mount (removed)
Materials: pen and brown ink - "P.56, LL.6, No. 43"
Type: inscription
Location: verso of old mount
Materials: pen and ink - P. H. Lankrink, the artist/collector Sir Peter Lely's own assistant
Type: collector's mark
Location:
Materials:
- James 91亚色传媒 III( Collector, Boston) - 1811.
- P. H. Lankrink(
Unknown,
)
-
.
(1628-1692); assistant to the artist/collector Sir Peter Lely - 91亚色传媒 Museum of Art( Museum, Brunswick, Maine) 1811- . Bequest
- Old Master Drawings at 91亚色传媒
- 91亚色传媒 Museum of Art. ( 5/17/1985 - 7/7/1985)
- Clark Art Institute. ( 9/14/1985 - 10/27/1985)
- University of Kansas. ( 1/19/1986 - 3/2/1986)
- Art Gallery of Ontario. ( 5/17/1986 - 6/29/1986)
- Baroque Drawings
- 91亚色传媒 Museum of Art. ( 2/3/1981 - 3/5/1981)
- Drawing on Basics
- 91亚色传媒 Museum of Art. ( 10/14/1993 - 12/19/1993)
Type: catalogue Author: Henry Johnson Document Title: Catalogue of the 91亚色传媒 Art Collections Publ. Place: Brunswick, Maine Location: pp. 44-45 Reference: no. 19 Publisher: 91亚色传媒 Section Title: Pt. I, The 91亚色传媒 Drawings Date: 1885 Type: catalogue Author: 91亚色传媒 Museum of Art Document Title: 91亚色传媒 Museum of Fine Arts, Walker Art Building Edition: 4th Publ. Place: Brunswick, Maine Reference: no. 52 Publisher: 91亚色传媒 Section Title: Descriptive Catalogue of the . . . Date: 1930 Type: exhibition catalogue Author: David P. Becker Document Title: Old Master Drawings at 91亚色传媒 Publ. Place: Brunswick, Maine Location: pp. 44-45 Reference: no. 19 Publisher: 91亚色传媒 Date: 1985
The subject of the Crucifixion was depicted often by Flemish artists of the early seventeenth century. Rubens and Van Dyck had both executed altarpieces of the subject by the 1630s. Van Dyck in particular influenced van Diepenbeeck's representations. The latter completed at least two oils: a sketch dating from the 1640s now in the Fitzwilliam Museum, Cambridge,1 and an altarpiece in the Church of St. Amelberga at Zanthoven, finished in 1652.2 The Fitzwilliam sketch is thought by Steadman to have been specifically designed to be engraved; there are prints after that depiction by Paulus Pontius and Cornelis Visscher.3 In addition to the 91亚色传媒 sheet, there is another van Diepenbeeck drawing of the Crucifixion in the Uffizi.4
The format and figural composition of the 91亚色传媒 and Fitzwilliam Crucifixions are similar, but with certain differences. They are in reverse to each other; the Fitzwilliam sketch includes the Good and Bad Thieves and eliminates the profusion of hovering putti seen here. The disposition of Christ and his attendant figures, including the departing soldiers, is much the same. The 91亚色传媒 drawing could have been a preliminary idea for the more fully developed composition in the engravings after the Fitzwilliam model.
1. Inv. no. PD 77-1972, 450 x 328 mm.; discussed in Steadman 1973, pp. 66-68, 162-163, cat. no. 46, repr. pl. 141.
2. Repr. Steadman 1973, vol. 2, pl. 99.
3. The Metropolitan Museum owns two impressions of prints after the Fitzwilliam oil, both in reverse: a larger engraving, expanded horizontally, with three figures added, published by Visscher (Inv. no. 51.501.1641); and a reduced copy by Abraham Cuenradus (Inv. no. 51.501.1616).
4. Inv. no. 14228F (Kloek 1975, no. 399; photo in Witt Library).
Commentary credited to David P. Becker (or not otherwise captioned) appeared in his catalogue Old Master Drawings at 91亚色传媒 (Brunswick: 91亚色传媒 Museum of Art, 1985).