The pleasures of the Prodigal Son, Flemish painter active in Veneto in the early 17th century

Flemish painter active in Veneto in the early 17th century
The pleasures of the Prodigal Son

Oil painting on canvas
Cm. 62 x 74
With antique carved and lacquered frame cm. 82 x 95

Details of this work: https://www.antichitacastelbarco.it/it/prodotti/pittore-veneto-fiammingo-del-xvii-secolo

We are witnessing a sumptuous banquet, set in the sumptuous setting of a palace with imposing architecture, where a young boy is enjoying himself with the company of some dissolute women who try to seduce him, while he lets himself be carried away by the pleasures of life, among servants and musicians.

It is a very interesting scene, which illustrates the pleasures of the Prodigal Son, while he is senselessly squandering the part of the inheritance that he demanded in advance from his father. We note the subtlety with which the author represents the prostitutes, with the elderly woman who seems to tell them how to act, and the confidential, but modest attitude of the young man.

The dissolute life described in the parable of the prodigal son is an imaginative prologue of sins compared to the evangelical episode in which the Grace of paternal forgiveness is represented. The episode, which is well known, has as its protagonists an old man and his two sons: one virtuous, who contributes to the growth of the family property, the other a squanderer - prodigal, in fact - who, far from home, will squander all the money until his ruin. When the latter, without any more resources, is forced to return to his native village, he will be welcomed by his father with immense happiness and love, ready to welcome his sinful son.

Very frequent in painting between the sixteenth and seventeenth centuries, and especially in the Flemish context, were the paintings that licentiously imagined the life of the dissolute young man and which, while drawing a pretext from the biblical world, often entered into sensual details, so that the resulting paintings appear as a celebration to the young man's lust before being forced to repent.

The painting in question is characterized by its high quality and intense expressive force, which is revealed in the detailed rendering of the individual protagonists, represented with precise attention to detail, of the faces in particular. In these aspects the stylistic features of Flemish origin are unmistakable, mitigated by a strong typically Venetian influence in the drapery and in the definition of the figures. It should be remembered, in this regard, that between the sixteenth and seventeenth centuries Venice hosted numerous Nordic painters, both independent and disciples of important painting workshops.
In detail, by carefully observing the details and the 'eclectic' style of the composition, due to its worldly verve, we are inclined to bring the painting closer to an author close to the Venetian-Dutch style of Paolo Fiammingo (Antwerp circa 1540 – Venice 1596) who in the seventeenth century it was certainly an object of study and inspiration for many painters active in the lagoon city.

In the figures his manner adheres to those of the major Venetians, in particular Tintoretto and Palma the Younger. The main scene betrays our Flemish author's knowledge of both the Veronese models and, above all in the architectural structure with columns and in the red drapery that crown the scene, of Titian and the Bassano workshop.

The work is presented in a very good state of conservation, completed by a magnificent carved and lacquered wooden frame.

Painting complete with certificate of authenticity in accordance with the law.
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