Dance of children, Cornelis van Cleve (Antwerp, 1520 – 1567) workshop

Cornelis van Cleve, or Van Cleef (Antwerp, 1520 – 1567) workshop
Flemish school, late 16th century
Children's dance

Oil on wooden panel
51 x 108 cm. – framed 67 x 124 cm.

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The particular subject depicted, with an allegorical and highly decorative character, features a group of fourteen playful children intent on dancing in a merry-go-round holding hands, on a floor strewn with different types of flowers.

This theme found widespread diffusion starting from the Renaissance in Italy - executed, among others, by Giovanni Antonio de' Sacchis known as Pordenone (Pordenone 1483/84 – Ferrara 1539), Raffaello Sanzio (Urbino 1443 – Rome 1520) and in sculpture by Donatello (Florence 1386 – 1466); it is likely that our author studied the famous engraving by Marcantonio Raimondi (Bologna 1480 – 1534) 'Five putti dancing in a circle' [1], deriving from an invention by Raphael himself and dating back to between 1517 and 1520, which presents close structural analogies with our painting.

[1] Putti dancing in a circle, Marcantonio Raimondi Italian, After Raffaello Sanzio, ca. 1517–20, Metropolitan Museum of Art, New York. URL: https://www.metmuseum.org/art/collection/search/342668

In our work the scene is made up of three circles of children skilfully linked together who move following a slow and sinuous rhythm; some hold hands, others abandon themselves to the rhythm and twirl.

The image suggests a sense of tranquility and joy of living that capture the soul of the spectator and for this reason it must be interpreted in an allegorical key: these little cherubs intent on having fun are a hymn to life and an invitation to abandon oneself to impulses and to the sensations it offers us.

From a stylistic point of view, we note a soft and skilful play of chiaroscuro, the small scenic composition limited to the curtain gathered sideways, and finally the marked contours of the figurines which outline the smooth whiteness of the plump flesh.

In the 1520th century, thanks to the many Flemish painters who arrived in Italy, the theme spread to the Netherlands, and it is here that we must place the creation of our painting. In particular, his creation finds concrete comparisons with various works by Cornelis van Cleve (Antwerp, 1567 – XNUMX), therefore allowing us to attribute it, if not to the master himself, then to one of his closest collaborators.

In this regard we can mention the following works:

– Cornelis van Cleve, Roundabout of cherubs, Musée d'art et d'histoire de Cognac (France)
– Cornelis van Cleve, Dancing Putti, Christie's New York, (31 Jan 1997, Old Master Paintings, as Otto van Veen, attribution later corrected in favor of Cornelis van Cleve)
Source RKD Archive: https://rkd.nl/images/19553
Source Christie's: https://www.christies.com/en/lot/lot-207549
– Cornelis van Cleve, Dancing Putti (Netherlands, University of Aberdeen Collection)
URL: https://artuk.org/discover/artists/van-cleve-cornelis-15201567
– Cornelis van Cleve, Dancing Putti, Chriesie's New York, (29 Oct 2010, Old Master Paintings, as 600th century Flemish school, later attributed to C. Van Cleve
Source RKD Archive: https://rkd.nl/images/18011
Source Christie's: https://www.christies.com/lot/lot-5365376?ldp_breadcrumb=back&intObjectID=5365376&from=sales…

These numerous versions testify to the popularity of the composition and the interest shown in it by Cornelis van Cleve who, although he began his career in Antwerp in the workshop of his father, Joos van Cleve, progressively distanced himself from his style, to approach that of authors who had studied in Italy or had been influenced by Italian art, and our painting is a perfect testimony to this.

Conservation: Painting layer in good condition. The wooden support on the back provides the canonical structural reinforcements.

ADDITIONAL INFORMATION:

The work is sold complete with a wooden frame and is accompanied by a certificate of authenticity and descriptive iconographic card.

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