Circle of Daniel Seghers, 17th century

Circle of DANIEL SEGHERS (Amberes, 1590-1661).
"Saint John the Baptist.
Oil on canvas. Re-coloured in the 19th century.
Measurements: 67 x 50 cm; 95 x 80 cm (frame).
The tenderness of the childish face of Saint John, the modelling of soft forms of his body and his serene and kind gesture create a great harmony between the representation of the figure of Saint John and the colourful border of flowers. The piece stands out for its great precision and detail in the conception of both the religious theme and the floral wreath that envelops the main scene. The short, precise brushstrokes give way to an extreme care for truthful representation, although not without a lack of idealisation of all the elements that make up the scene. In the first quarter of the 17th century a new form of flower painting developed in Flemish painting, which was recreated by a large group of artists and workshops and achieved considerable success throughout the century in much of Europe: the garland of flowers as a frame and an element that enhanced a central religious theme. Brueghel de Velurs was the initiator of this type of composition, particularly linked in his work to the depiction of the Virgin and Child. However, it was his disciple, the Jesuit Daniel Seghers, who was the dominant figure in this specialised production and the creator of a prototype that would serve as a model for the numerous artists who followed in his footsteps.
Aesthetically the work is close to that of Gerard Seghers, one of the foremost Caravaggists of the southern Low Countries, who produced historical and mythological paintings, although he was primarily a religious painter. Initially trained with his brother Jan Baptista Seghers, his principal teacher was Gaspr de Crayer. Other sources indicate that he trained with Abraham Janssen and Hendrick van Balen. A master from 1608, in 1613 he was in Italy, probably for commercial reasons. There he came into contact with the followers of Caravaggio, particularly the Dutch circle, although it was Bartolomeo Manfredi who had the greatest influence on his work. Seghers also travelled to Spain where he worked for Philip III. In the 1620s he returned to Antwerp and after a period of strong Caravaggism evolved towards a more moderate, mature style of more homogeneous light, richer settings and more varied colouring, as well as a more marked linearity. He is currently represented in the Museo del Prado, the Galleria Nazionale d'Arte Antica in Rome, the Hermitage in Saint Petersburg, the Louvre in Paris, the Rijksmuseum in Amsterdam and many other important collections.