Circle Of Gaspar De Crayer (1582 - 1662), Annunciation

Circle of Gaspar de Crayer (Antwerp, 1582 - Ghent, 1662)

Annunciation

Oil on copper, cm 38,5 x 29

With frame, cm 53 x 45,5

The present copper represents the Annunciation and the typical iconography consolidated during the four and sixteenth centuries. Separating the two characters ideologically is not only the lily, symbolic reminder of the virginity and purity of what will be the mother of God, but also a real piece of still life: vase decorated with grotesque flowers of different colors. The divine and spiritual character of the scene is underlined by the blanket of golden clouds that accompany the angel and some groups of cherubim who attend the event. Apex of the composition that closes the vertical created by the vase of flowers and the bouquet of lilies is the dove of the Holy Spirit. 

Stylistically the work can be counted among the tests of an artist from the circle of Gaspar de Crayer. 

Born in Antwerp in 1582, he studied painting at Michel Coxcie and later at the Academy of Saint Luc in Brussels, where he remained until 1660, before finally settling in Ghent where he died in 1662.

Crayer was one of the most productive and conscientious painters of the late Flemish school, epigones of Pieter Paul Rubens from whom he derived several iconographic motifs, and of Antoon van Dyck for the attention to detail. He was a painter appreciated by Archdukes Albert of Austria and Isabella Clara Eugenia of Habsburg, rulers of the Catholic Netherlands, who always treated him with great respect. Confirming this esteem, Cardinal-Infante Ferdinand of Habsburg, brother of King Philip IV and governor of the Southern Netherlands after the death of his aunt Isabella Clara Eugenia, appointed him his official painter.
His paintings are found in large quantities in the churches and museums of Brussels and Ghent, as there is practically no chapel in Flanders or Brabant that does not claim to own his paintings. However, he was also renowned outside his native country and some of his works can be found further south, in Aix-en-Provence and in Amberg, in the Upper Palatinate.

His ability as a decorative artist is testified by the panels made for the triumphal arch built for the entrance of Ferdinand of Habsburg in the Flemish capital after the victory at the Battle of Nördlingen. Some of these panels are currently on display in the museum in Ghent. His best works are. The miraculous fishing, preserved in the Brussels Gallery, The Judgment of Solomon in the Ghent Gallery and the Madonnas with Saints currently in the Louvre, the Munich Art Gallery and the Belvedere in Vienna.

The object is in good condition

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