Guillam Forchondt "The Old Man" & Ferdinand Van Kessel

GUILLAM FORCHONDT "THE OLD" (Antwerp, 1608-1678) & FERDINAND VAN KESSEL (1648 - 1696)
"The Rape of Europa".
Oil on copper.
Attached study made by Soraya Cartategui Gallery.
It has a Dutch style frame of ebonized wood.
Measurements: 90 x 116 cm; 115 x 140 cm (frame).
Scene taken from Greek mythology in which its composition, expressive aspect, chromatism and drawing stand out. Thus, we see almost all the figures organized on the same plane, as if it were a classical frieze. On the other hand, the figures are perfectly balanced, with noble and restrained expressiveness, and especially the central one, Europa, which refers directly to sculptural models of Classical Antiquity. The scene is set in a landscape environment that drinks from the classicist baroque, a rational, orderly and balanced nature, an open stage in the right area of the composition but closed on both sides by the trees. The lighting is also typical of the falmenco baroque uniform and, although nuanced, devoid of violent hallmarks that break the formal balance. In the same sense, the colors are classical and appear perfectly balanced, reinforcing the symmetry and compositional order. The painter does not choose the representation of the abduction of Europa, the most common scene in the History of Art, but, avoiding the drama and tension that would break the classical balance, he shows us the moment in which Europa, fascinated by the great bull that Zeus has become, offers him some wild flowers, accompanied by her ladies. Other girls converse around them, and on the right side we see several little angels. According to the words of the study issued by the Soraya Cartategui gallery, "This work represents the moment just before the abduction, when the girls adorn the white bull, into which Zeus has been transformed, because they find it very beautiful and unique. Europa, at his side, caresses his muzzle. She is distinguished from the rest of the girls by her elegant blue and golden garments, the headdress on her head and also a little love is clutching her leg. The whole scene is complemented with these funny little lovebirds together with the colorful clothes, the flowers and the fruits of the trees create a cheerful and loving atmosphere. Finally, it is important to note that this painting was a collaboration; Guillaum Forchondt I did the figures while Ferdinand van Kessel painted the landscape."
That of the abduction of Europa is one of the best known legends within the loves of Zeus. Europa was a Phoenician woman from Tyre, who was picking flowers on the beach accompanied by her ladies when she was spotted by the god. The god, smitten with her, transformed himself into a beautiful white bull and mingled with the cattle of the girl's father. She saw him and, seduced by his gentleness and beauty, rode on him, at which point the disguised god ran into the sea and swam to the island of Crete, carrying Europa on his back. Once there, Zeus revealed his true identity, and after joining her he made her the first queen of the island. In addition, the god gave Europa a necklace made by Hephaestus, a bronze automaton, a dog that never let go of its prey and a javelin that never missed.
Guillam Forchondt the Elder was a Flemish painter and art dealer. He captained a successful painting workshop that spread throughout Europe through his sons' offices in Vienna, Lisbon and Seville. Through the port of Cadiz, works were shipped to Mexico and sold to local convents. He played a very important role in the diffusion of Flemish Baroque art in Europe and South America, even changing the dealer-artist relationship by involving himself in the organization of the artistic production process. His lucrative business was continued by his son, Guillam Forchondt the Younger (1645-after 1677), who turned it into an international art and luxury goods enterprise. Among the numerous clients were prominent personalities of the time, such as the Emperor of Austria or the Princes of Liechtenstein. As a painter, Forchondt worked in the Flemish Baroque style of Rubens, Jan Brueghel the Younger, Joos de Momper and David Teniers the Younger, clearly adapting his production to market demand. Many of his works can be considered pastiches or reduced copies of works by Rubens. At that time there was a great demand abroad, and particularly in Spain, for paintings in the style of the great Flemish masters, such as Rubens and Anthony van Dyck. Art dealers, such as the Forchondts, who had local representation in several foreign countries, facilitated the trade in these paintings.