File:A scene from the commedia dell' arte played in France before a noble audience - Ferrone 2014 fig34.jpg

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Summary

anonymous: Q124024652  wikidata:Q124024652 reasonator:Q124024652
Artist
School of Frans Floris I  (1519/1520–1570)  wikidata:Q543948
 
School of Frans Floris I
Alternative names
Frans Floris the Elder, Frans de Vriendt
Description Flemish painter, drawer, printmaker and tapestry designer
Date of birth/death 1519 or 1520
date QS:P,+1550-00-00T00:00:00Z/7,P1319,+1519-00-00T00:00:00Z/9,P1326,+1520-00-00T00:00:00Z/9
 1 October 1570 / 1570 Edit this at Wikidata
Location of birth/death Antwerp Antwerp
Work period between 1534 and 1570
date QS:P,+1550-00-00T00:00:00Z/7,P1319,+1534-00-00T00:00:00Z/9,P1326,+1570-00-00T00:00:00Z/9
Work location
Antwerp Edit this at Wikidata
Authority file
artist QS:P170,Q4233718,P1780,Q543948
image of artwork listed in title parameter on this page
Title
French:
Commedia dell'Arte à la cour de Charles IX
title QS:P1476,fr:"Commedia dell'Arte à la cour de Charles IX"
label QS:Lfr,"Commedia dell'Arte à la cour de Charles IX"
Object type painting
object_type QS:P31,Q3305213
Description
English: A scene from the commedia dell'arte played in France before a noble audience, probably Flemish, possibly painted by a student of Frans Floris, according to the art historian Charles Sterling (1943, p. 18). It is one of the oldest images of the commedia dell'arte in France. Pantaloon is front and center on the stage. Just to to the right and slightly behind is an actor in motley costume, identified as Harlequin by both Duchartre and Sterling. The latter says it is "the oldest known version of Harlequin's costume."
Date 1571 or 1572
date QS:P571,+1571-00-00T00:00:00Z/8,P1319,+1571-00-00T00:00:00Z/9,P1326,+1572-00-00T00:00:00Z/9
Medium painting on wood
Dimensions height: 85 cm (33.4 in); width: 85 cm (33.4 in)
dimensions QS:P2048,85U174728
dimensions QS:P2049,85U174728
institution QS:P195,Q3329086
Credit line Bequeathed to the Museum of Bayeux by Count Frederick d'Houtetot (1778–1859), according to Duchartre 1929 [1966], p. 85.
Notes
English: The commedia dell'arte historian Pierre-Louis Duchartre (1929 [1966], pp. 84–86) identifies the artist as Paul Porbus the Elder or Frans Porbus. He also says the troupe is probably that of Zan Ganassa. Sterling takes issue with both these statements, saying that the painting is by none of the known members of the Pourbus family, not Pieter Pourbus, Frans Pourbus the Elder, or Frans Pourbus the Younger, but is probably by a Flemish artist, possibly a student of Frans Floris; and that there were many Italian troupes playing in France at this time, and it could be any one of them. However, both Duchartre and Sterling agee on the dating, and Katritzky (2006, p. 143) confirms that this dating is generally accepted. Ferrone, the author of the book which is the source of this image, argues that Tristano Martinelli was the first Harlequin and gives later dates, "1574–1576 (?)".
References
  • Duchartre, Pierre-Louis (1929; Dover reprint 1966). The Italian Comedy, translated by Randolph T. Weaver. London: George G. Harrap and Co., Ltd. (1929); New York: Dover (1966). ISBN 0486216799.
  • Katritzky, M. A. (2006). The Art of Commedia: A Study in the Commedia dell'Arte, 1560-1620, with Special Reference to the Visual Records, pp. 140–143. Amsterdam & New York: Rodopi B. V. ISBN 9789042017986.
  • Sterling, Charles (1943). "Early Paintings of the Commedia Dell Arte in France." Metropolitan Museum of Art Bulletin, New ser., v. 2, no. 1 (Summer, 1943).
Source/Photographer Scan from the original work : Ferrone, Siro (2014). La Commedia dell'Arte: Attrici e attori italiani in Europa (XVI–XVIII secolo). Turin: Giulio Einodi. ISBN 9788806206512.
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current07:07, 24 February 2015Thumbnail for version as of 07:07, 24 February 20151,354 × 1,310 (863 KB)Robert.Allen{{Information |Description ={{en|1=A scene from the ''commedia dell'arte'' played in France before a noble audience, probably Flemish, possibly painted by a student of Frans Floris, according to the art historian [[:en:Cha...
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