Erasmus Quellinus II
Madonna and Child with St John the Baptist
Oil on canvas. 106 x 86 cm.
A marvellous full-size composition showing the Madonna and Child with St John the Baptist by Erasmus Quellinus II, painted in around 1635. Quellinus the Younger was an influential Flemish artist of the 'Rubensian' school, having actively worked with the master in his studio from the 1630s onwards. Hans Vlieghe points to his important contribution in Rubens' Achilles series (c. 1630) and the allegorical and mythological compositions for the Pompa Introitus Ferdinandi. So defining was his presence that upon Rubens's death, that many patrons considered Quellinus the only artist who could be trusted to follow in the master's footsteps, as a letter from Cardinal-Infant Ferdinand of Austria to his brother King Philip IV of Spain reveals.
Quellinus did not entirely escape Rubens' influence in his later personal work, but developed a style showing marked preference for classicism, to contrast his master's Baroque exuberance. Some argue this influence was reinforced by his brother, the sculptor Artus Quellinus who returned to Antwerp in 1640 after a long period in Rome. In the artist's later years, this classicising trend became more and more apparent. Here we already find the kernels of this development in the classical pose and arrangement of the figures, framed within the composition by stone pilasters and flourishing grapevines in the background.
In this scene, Quellinus depicts Jesus turning his head to look at the Virgin, while Saint John comes to embrace him. He translates not only the affection that unites Jesus with St John, but also the particular sadness of Mary, with her lowered eyes and introverted attitude. The two children express compassion whilst we foresee in the mother's face the tragic future of her son. The artist successfully creates a highly intimate and endearing image.
This newly discovered canvas is one of three examples of the composition by Erasmus Quellinus II and represents an important contribution to the knowledge of his works.
The two other versions, with variations, are held respectively in the Cathedral of St Michael & Ste Gudule, Brussels and the Lazaro Galdiano Museum, Madrid.
The authenticity of this painting has been confirmed independently by Jahel Sanzsalazar and Jean Pierre de Bruyn (written communication, 29.3.2020; 'An important contribution to the knowledge of the 'early' work of Erasmus II Quellinus“).
Provenance
Possibly Erasmus Quellinus’ collection: “Our Lady, with Jesus and Saint John the Baptist of Erasmus Quellinus” (“Een Ons Lieve Vrow, een Jesus ende Sint Jan, Erasmus Quellinus”) listed in Erasmus Quellinus’ inventory collection (1670). - Possibly Brussels, collection Lambert Jan Nieuwenhuys (1777-1862). - His sale, Paris, 7.11.1808, lot 27 (“Erasme Quellyn. Jésus assis sur les genoux de sa mère, et recevant d'un air de sa satisfaction les caresses du jeune St Jean”); bought by Dargon. – Private collection, United Kingdom; from whom bought by the present owner.
Literature
Jahel Sanzsalazar, “Quellinus, Rubens´ First Lieutenant”, in: Tendencias del mercado del Arte, January 2020, p. 72-75, fig. 1.