A visual Journey into the Bible - Theartofpainting.be

The Deuteronomy Page: 18 / 334of many facets although he was only around thirty years old when he made this ‘Jaeland Sisera’. He painted very theatrical attitudes for his figures in ‘Jael and Sisera’.And yet his picture feels quite natural. Its meaning is conveyed efficiently. Thetheatricality disappears in the immediacy of the communication. There is a directcorrespondence between the form used, the depicted attitudes of the figures, and themeaning. This is always a feature of great expression. Van Loo linked the three actorsvery strongly. He made meaning very obvious and it is almost impossible to see thisscene otherwise. It would be impossible to omit eye-glances, gestures and poises andstill come to such direct, easy impact on the viewer. All the elements of the scene arenecessary for the communication of the simple message of the story.Carle Van Loo was a painter caught between François Boucher and Jacques-LouisDavid, between Nicolas Poussin and Claude Le Lorrain, between Sébastien Bourdonand Watteau. He was very much still a Baroque painter, not entirely given in to thevagaries of Rococo or to the erotic art of Boucher, never forgetting classicist restraintbut dedicated to theatrical scenes of luxurious decoration. His ‘Jael and Sisera’ is agood example of the many talents and styles that Carle Van Loo could play upon.Other Paintings:Jael and Sisera. Giuseppe Vermiglio (ca.1585-ca.1635). Pinacoteca Ambrosiana –Milan.Jael and Sisera. Artemisia Gentileschi (1593-1652). Szépmúvészeti Múzeum –Budapest. 1620.Jael. Johann Spilberg the Younger (1619-1690). Gemäldegalerie, Staatliche Museenzu Berlin Preussischer Kulturbesitz. Berlin. 1644.Jael and Sisera. Bartolomeo Guidobono (1654-1709). Collection Piero Pagano.Genoa. 1690-1693.Jael and Sisera. Hans Speckaert (1530-1577). Museum Boijmans van Beuningen.Rotterdam.Jael and Sisera. Enrico Albricci (1714-1775). Accademia Carrara. Bergamo.Copyright: René Dewil Date: October 2001