Madonna And Child In A Garland Of Flowers - Studio Of Frans Francken Ii, 17th C. Antwerp School

Oil on oak panel
Dimensions: h. 49 cm, w. 38 cm
A 17th century giltwood frame
Framed : h. 65 cm, w. 54 cm

Panelmaker stamp on the back of the panel LS for Lambrecht Steens ( 1608-1638).

Both divine and secular, the image of the Virgin surrounded by a garland of flowers is part of a cultural and religious context of the early 17th century in the Low Countries. The veneration of the Virgin Mary in a domestic setting is associated with the Flemish and Dutch passion for flowers and new discoveries in this field.
This type of composition, energized by Jan Brueghel the Elder (1568-1625), is a kind of pictorial assemblage often executed by two artists: one for the garland and the other for the central figures. Generally, the medallion depicts a devotional image of a saint, a saint or the Virgin and Jesus. The garland thus replaces an offering by the faithful. In the context of Marian worship, this approach is all the more legitimate, as the month of May, historically dedicated to the Virgin, corresponds to the flowering of most flowers.
In our work, the Virgin and Jesus are placed in the center of the painting. Mary, seen from the waist up, seated, is dressed in a red dress and a blue-green mantle, she is crowned and holds a scepter. Jesus stands in his mother's lap, one arm clasped around Mary's neck, the other arm raised in
a gesture of blessing. The heads are surrounded by golden halos. The dove appears above a cloud and sends out rays of light. The celestial aspect is emphasized by two angels unfurling a garland of flowers. This drop-shaped garland, tied with floating blue ribbons, captivates the eye with the abundance and diversity of the flowers that compose it. Dominated by tulips: the most expensive flowers of the time: red tulips striped with white or white and yellow tulips striped with red, these were the most sought-after varieties during the "tulip mania", then came pink, white and red peonies, white and orange lilies, orange fritillaries, carnations, irises, snowballs, daffodils, blue bells, pansies and many more.
This profusion of flowers with delicately drawn petals and detailed rendering combined with vibrant colors stands out against a dark background to ensure a striking effect.

While flower garlands were a huge success among Antwerp painters, our painting, through its garland form, is unique to the body of work originating from Frans Francken II and his workshop.
The unusual teardrop-shaped design of the garland, open at the top as it is about to be tied by angels, is found in later works by Frans Francken II.

Related works:
- Frans Francken II, Christie's auction London, 1980 (published in the catalogue U. Härting, Frans Francken the Younger [1581–1642]. Paintings with a critical catalogue of the works, Freren 1989, p. 65, no. 126)
- Frans Francken II, Philips auction, London, 11/12/1990, lot no. 181

The mark of the panel maker Lambrecht Steens also indicates that our painting was created between 1608 and 1638, which perfectly corresponds to the flourishing period for the workshop of Frans Francken II. This mark can also be found on other works by the artist.