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Lady with a Yellow Flower
Cronenburch, Adriaen van
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Cronenburch, Adriaen van

Schagen (Netherlands), 1520 - Bergum (Netherlands), 1604

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Lady with a Yellow Flower

Ca. 1567. Oil on panel

These four portraits of women, two double ones and two single ones (P02074, P02075 and P02076) presented standing and down to kneelevel, use the same architectural setting. The series is given visual unity by the use of a central niche and two more, barely visible ones at the sides, separated by masonry pillars and decorated with small lions’ heads in the centre.This use of shared elements is probably due to the fact that they were originally intended for the same gallery of portraits.With this end in mind, Cronenburch arranged the four older women with their bodies slightly turned, two towards the left and two towards the right. In three of the portraits a green curtain of differing shapes and widths in the background gives the compositions greater richness and monumentality. In two cases this curtain partly or completely covers the central niche, while in the third (P-2073) it obscures the pilaster and the start of the niche on the right.The table with a green cloth to be seen in two of the portraits imitates royal portraits by Anthonis Mor, but Cronenburch adopted a much more austere tone with more rigid figures. In the double portrait (P-2075) the words ‘NASCENDO MORIMVR’ inscribed across the two pilasters beneath the impost, as well as the skull and the flowers held by the young girl, suggest the vanitas theme and refer to the transient and ephemeral nature of worldly things.The pink held by the young girl in the other double portrait also refers to death. In 1636 these four portraits were inventoried for the first time as ‘Flemish women’ in the Alcázar in Madrid in the ‘Pieza oscura junto a la Galería del Mediodía’ [dark room next to the Mediodía Gallery], along with another by the same artist (now lost). From that date on they formed part of the royal collection before entering the Museo del Prado in 1847. Although it has not been possible to identify these female sitters, who were undoubtedly members of the same family or related by marriage, they must be members of the Frisian rural aristocracy for whom Van Cronenburch worked.They may have lived in Bergum or nearby, given that the artist is documented there from 1565. ( Silva Maroto, P.: El retrato del Renacimiento, Museo Nacional del Prado, 2008, p. 478).

Technical data

Related artworks

Dama y niña
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Lady and Girl
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Inventory number
P002073
Author
Cronenburch, Adriaen van
Title
Lady with a Yellow Flower
Date
Ca. 1567
Technique
Oil
Support
Panel
Dimension
Height: 107 cm.; Width: 79 cm.
Provenance
Royal Collection (Palacio Real Nuevo, Madrid, pinturas que quedaron sin colgar en la última pieza de la Furriera, 1747, nº 620).

Bibliography +

Madrazo, Pedro de, Catálogo de los cuadros del Museo del Prado de Madrid, Madrid, 1873, pp. nº1307.

Argote de Molina, Gonzalo, Discurso sobre la montería, [s.n.], Madrid, 1882.

Beruete y Moret, Aureliano de, Conferencias de arte, Establecimiento Tip. de Blass, Madrid, 1924.

Bibliograrhie, Gazette des beaux-arts, 11, 1934, pp. 254-255.

Marlier, Georges, Un portraitiste frison du XVI siècle. Anna ou Adriaan van Cronenburch, OUD HOLLAND., 1934, pp. 1-10.

Museo Nacional del Prado, Museo del Prado: catálogo de las pinturas, Museo del Prado, Madrid, 1972.

Museo Nacional del Prado, Museo del Prado: catálogo de las pinturas, Museo del Prado, Madrid, 1985, pp. 177-178.

Kloek, Wouter Th, Art before the iconoclasm: northern Netherlandish art 1525-1, Rijksmuseum, Amsterdam, 1986.

Bernis, Carmen, La dama del armiño y la moda (datos para su fechación y atribución)., Archivo español de arte y arqueología, 59, 1986.

Museo Nacional del Prado, Museo del Prado: inventario general de pinturas, Museo del Prado, Espasa Calpe, Madrid, 1990, pp. nº953.

Museo Nacional del Prado, Museo del Prado: catálogo de las pinturas, Ministerio de Educación y Cultura, Madrid, 1996, pp. 90.

Museo Nacional del Prado, Pintura flamenca de los siglos XV y XVI: guía, Museo del Prado, Aldeasa, Madrid, 2001, pp. 234.

El retrato del Renacimiento, Museo Nacional del Prado, 2008, pp. 244-245.

Other inventories +

Inv. Felipe V, Palacio Nuevo, 1747. Núm. 620.
PINTURAS EXISTENTES ANTIGUAS [...] P / Pinturas que quedaron sin colgar en esta vltima pieza [de la Furriera] [...] {10615} 620 / Ottro [retrato] en tabla de vna Labradora con vn Clauel en la mano de vara de alto y tres quartas de ancho en cien reales

Catálogo Museo del Prado, 1854-1858. Núm. 953.

Inv. Real Museo, 1857. Núm. 953.
A.O.V. CRONCH. S.In.I.F. / (esta firma lleva el siguiente cuadro) / (escuela holandesa) / 953. retrato de una señora / desconocida. / Esta vestida de blanco, con corpiño carme- / si y con una especie de esclavina ce- / ñida negra; tiene una mano sobre una / mesa donde hay un sombrero negro con / plumas, y una flor amarilla en la iz- / quierda. (tabla.) / alto 3 pies, 10 pulg; ancho 2 pies, 10 pulg.

Catálogo Museo del Prado, 1873-1907. Núm. 1307.
1307.-(953-I)-Retrato de una señora neerlandesa.-Está en pié, con la derecha cogiendo el lazo de su sombrero puesto sobre una mesa, y con una flor amarilla en la mano izquierda.-Más de media figura, tamaño natural. Formaba parte de una serie de cinco retratos de mujeres flamencas (sic) en la col. de Felipe IV, R. Alc. y Pal. de Madrid. Alto 1,07; ancho 0,79.-T.

Exhibitions +

The Renaissance Portrait
Madrid
03.06.2008 - 07.09.2008

Displayed objects +

Hat: .26.

Update date: 03-05-2019 | Registry created on 28-04-2015

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