s mazuk

Feb 13 '12
low-country: Gustave van de Woestyne - The pudding-eater (1911) The present lot, painted in 1911, clearly shows the influence of the Flemish primitives and Italian quattrocento art. It is closely related to the portraits of the farmers both in subject matter and style, with the emphasis on the facial expression and the golden background reminiscent of icon painting. Van de Woestyne has placed his ‘Papeter’ against the golden background as the saint in an icon. Like the farmers, the ‘Papeter’ is part of Van de Woestyne’s “prolétariat caravagiesque où les visages burinés, surchargés de rides, de paysans ou de pêcheurs s’identifient à des têtes de saints et de martyrs.” (C. Collin, Gustave van de Woestyne, L’Art et l’esprit) The subject of the painting, a man at a table, might also refer to the Last Supper, a theme Van de Woestyne has represented more often. (Christies)

low-country:

Gustave van de Woestyne - The pudding-eater (1911)

The present lot, painted in 1911, clearly shows the influence of the Flemish primitives and Italian quattrocento art. It is closely related to the portraits of the farmers both in subject matter and style, with the emphasis on the facial expression and the golden background reminiscent of icon painting. Van de Woestyne has placed his ‘Papeter’ against the golden background as the saint in an icon. Like the farmers, the ‘Papeter’ is part of Van de Woestyne’s “prolétariat caravagiesque où les visages burinés, surchargés de rides, de paysans ou de pêcheurs s’identifient à des têtes de saints et de martyrs.” (C. Collin, Gustave van de Woestyne, L’Art et l’esprit) The subject of the painting, a man at a table, might also refer to the Last Supper, a theme Van de Woestyne has represented more often.

(Christies)

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