Madonna And Child With Musician Angels - Cornelis De Baellieur (1607-1671)

17th century Antwerp School
By Cornelis de Baellieur (1607-1671)
Oil on oak panel, on the back of the panel mark of the city of Antwerp depicting a castle surmounted by two cut hands as well as an unidentified pannier mark "DPF".
Dimensions: h. 55 cm, w. 41 cm
17th century frame in gilded wood with a decoration of reparure foliage
Framed: h. 67 cm, w. 53 cm

Provenance: Like Cornelis de Baellieur at Christie's Amsterdam, 4/09/2001

Our panel presents in its center the Virgin Mary seated holding the child Jesus on her lap. Rays of light emanate from the head of the Virgin and Christ. They are surrounded by little musical angels gathered to entertain them and attend the coronation of the Virgin. They play the violin, viola da gamba, lute and flute. While two cherubs descend to place the crown of Mary, Queen of Heaven, the dove of the Holy Spirit emerges from the clouds glorifying the event. The hearts of chubby-faced cherubs create an atmosphere of sweet contemplation and eternal bliss. The theatrical stage thanks to the large green curtains stretched on each side brings an exhilarating side to this celestial concert. Clothing and wings in warm colors illuminated as well as golden nimbus emerge on a darkened background. The faces with soft and delicate features charm with their jovial and childish character. The whole forms a delicate and charming work where the music is linked with Christian iconography.

Cornelis de Baellieur (1607-1671)
Cornelis de Baellieur, son of an Antwerp art dealer, was a pupil of Anton Lisaert with whom he began his apprenticeship in 1617, nine years later he became master of the Academy of Saint Luke , of which he was the dean from 1644 to 1645. He was a painter of religious compositions, historical and allegorical subjects, genre scenes, cabinets and lively interiors. His small figures, executed with mastery and meticulousness. His compositions feature a palette of bold white-yellow, purple and pink tones. His style close to Frans Francken II suggests that he worked in his studio: the same tapered figures, the same refinement in the meticulousness of the execution and the same shimmering colors.