Isaac Van OSTADE (Haarlem 1621 - 1649) - Lot 1224

Lot n° 1224
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Estimation :
15000 - 20000 EUR
Isaac Van OSTADE (Haarlem 1621 - 1649) - Lot 1224
Isaac Van OSTADE (Haarlem 1621 - 1649) The flayed pig Oak panel, two boards, not parqueted Height : 71.5 cm Width : 56 cm No frame Signed and dated lower right: ... Van Ostade / 1640 Inscription on reverse of panel B: 26. Old restorations Provenance: Ader sale 1960. Joachim Beuckelaer's "Hanging Pig" (1563, Cologne, Wallraf-Richartz Museum) is probably one of the earliest one of the earliest representations of a theme widely developed in the Netherlands from the 1630s onwards. An occasion for festivities and reunions, the slaughter of the pig traditionally illustrates the activities of the month of and the onset of winter. It takes two days to slaughter and cook the pig that will feed the family the family for the coming year. For children, this is often the first confrontation with death and their presence is part of their education. This moment in daily life becomes a pretext for moral moral education. Here, the animal, which has been washed outside, is installed in a rustic interior, probably near a fire. The child observes a woman cutting up the giblets, which are to be cooked immediately. the other parts will be smoked or salted. The still life, with its copper cane, evokes the preparation of the carcass. Isaac van Ostade (1621-1649) and his brother Adrien (1610-1685) treated the subject on several occasions, Isaac between 1639 and 1643 , in modest formats. Close to our version, his "Flayed Pig" in the Frans Hals Museum in Haarlem (panel, 48 x 40 cm) shows two children children playing in the foreground. Situated around 1642, the panel in the Budapest Museum of Fine Arts (Panel, 41 x 31 cm) offers a cruder image: the carcass in the foreground, brightly lit, is still in a barn. is still in a barn, bleeding. In the background, an adult and a child are inflating the animal's bladder which becomes a kind of balloon. Later, "Le Dépècement du porc" brings the whole family together. the carcass hanging from a ladder, the children play with the bladder (1645, 57 x 50 cm, Lille Museum). They defy death and humanize the scene, illustrating a popular maxim that warns against the illusion of appearances and reminds us of the fragility of existence: "the world we see is a bladder full of wind and nothing else". The Musée de Caen holds a composition very similar to the one by Adriaen van Ostade (Panel, 46.5 x 39.5 cm, circa 1650, anc. Coll. Fesch). It shows a woman and child in shadow, and the foliage of a vine, a motif also associated with autumn. associated with autumn. These "Flayed Pigs" precede Rembrandt's "Flayed Ox" by a few years. (Panel, 94 x 69 cm, 1655, Paris, Musée du Louvre). The artist who made Paul Valéry say "Rembrandt knows that flesh Rembrandt knows that flesh is mud whose light turns it to gold" left us the most famous representation of a motif repeated well into the 20th century. In 1925, Chaïm Soutine made it the subject of a series of canvases, including "Le boeuf écorché" (The Flayed Ox) in the Musée de Grenoble (canvas, 202 x 114 cm). Expert : Cabinet TURQUIN
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