Fans Francken II Workshop, St. John the Baptist, 1800s, Oil, Framed

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Description

The Baptist's sermon is set in a large open space, with rich vegetation and woodland views, and at the back, … Read more The Baptist's sermon is set in a large open space, with rich vegetation and woodland views, and at the back, in the distance, the buildings of a city can be seen. The scene sees John standing, in the centre, slightly moved to the right, surrounded by a crowd of popular figures. On the left, in the foreground, some upper class figures stand out, represented with rich clothes, and one of them is on horseback, accompanied by a squire with a hunting falcon on his shoulder. The construction of the scene which divides the characters along two lines is particularly effective: those of the people on the right, represented along a transversal which seems to lead to the city which can be glimpsed on the left, making us imagine a large crowd spread along the entire street, and those of higher rank placed along a detached line, parallel to the lower edge of the painting. In this sense, the participation of the various characters also seems to be different, that of the men of power being more detached and questioning, and that of the common people being more participatory and affected. Among them we notice a woman on the right, in tears, drying her eyes with a handkerchief, and another on the right of John who clasps her hands in an act of prayer listening to him, and yet another like this on his left. Around the Saint, other figures show surprise, remaining open-mouthed, and participation, with their gazes turned towards the preacher. The observer's eye is struck by the richness of the descriptive details that characterize the various characters, each represented and described with different clothes and colours, or with elements that make one imagine their role or profession, such as the farmer on the right who carries a basket full of birds. A mother with child is represented in front of the Baptist, almost as if to recall motherhood and the role of the Madonna This piece is attributed to the mentioned designer/maker. It has no attribution mark and no
official proof of authenticity,
however it is well documented in design history. I take full responsibility for any authenticity



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