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Noah after the Flood
Anonymous (Workshop of Bassano)
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Anonymous (Workshop of Bassano)

Noah after the Flood

Second half of the XVI century. Oil on canvas. Not on display

If we compare this painting with the Animals Entering the Ark (P22), we find that the iconographic elements which identify the subject have been shifted to a middle plane -Noah thanking God for bringing the flood to an end by means of a burnt offering (Genesis 8: 20-22) and the appearance of the rainbow as a symbol of the covenant between God and man (Genesis, 9: I-17-) while the foreground depicts in minute detail the task of reconstruction begun after the disaster. Nevertheless, Noah enjoys greater prominence than in other versions of the series, such as the one that hangs in the Archbishop´s Palace in Kromeriz (Czech Republic).

Although the painting, which is of middling quality, has been attributed to Leandro, it is probably more appropriate to ascribe it to his father´s bottega, as there are no signs of Leandro´s characteristic emphasis on drawing, or of his fondness of a cold palette with little blending. It is derived from models established by Jacopo and Francesco in the 1570s, though it is not so much a copy of the Potsdam and Kromeriz versions (though closer to the former) as a melange of elements found in both. In comparison with Noah and the women in the background, the figures in the foreground appear to be executed by a different hand, not so much on account of their finish as because of the difference in scale and the considerably more stylised patriarch. However, the treatment of the landscape is reminiscent of the Vienna Seasons and particularly the Prado replica.

Although the painting would have been part of a cycle illustrating the story of the Flood, it was incorporated into the royal collection alone. Owing to the substantial demand for these works, the sets must have been in constant circulation, which would have caused them to be split up. Indeed, in 17th century Spanish inventories it is common to find references to isolated paintings of the Noah series, such as the Flood (now lost) which the Duke of Medina de las Torres presented to Philip IV as a gift. Nonetheless, there were complete sets. Two were hung in the Escorial during Philip II´s reign -an original in the Prior´s cell, and another, then held to be a copy, in the galerla de la infanta- and it has been suggested that the set owned by the Duke of Lerma in 1603 could be the one which the Count of Monterrey possessed decades later (Text drawn from Falomir, M.: Los Bassano en la España del Siglo de Oro, Museo Nacional del Prado, 2001, p. 227).

Technical data

Inventory number
P000023
Author
Anonymous (Workshop of Bassano)
Title
Noah after the Flood
Date
Second half of the XVI century
Technique
Oil
Support
Canvas
Dimension
Height: 80 cm.; Width: 113 cm.
Provenance
Royal Collection (Palacio Real Nuevo, Madrid, tercera pieza de la Furriera, 1747, nº 192; Palacio Real Nuevo, Madrid, antecámara de su majestad, 1772, nº 192).

Bibliography +

Ponz, Antonio, Viage de España, I, Joachin Ibarra, Madrid, 1776, pp. 30.

Siguenza, Jose De, Historia Primitiva y Exacta del Monasterio de el Escorial, M.Tello, Madrid, 1881, pp. 340 y 484.

Lorenzetti, Giulio, La giovinezza artistica di Jacopo Bassano, L' Arte, 14, 1911, pp. 198.

Lorenzetti, Giulio, La giovinezza artistica di Jacopo Bassano, L' Arte, 14, 1911, pp. 241.

Pérez Sánchez, Alfonso E., Pintura italiana del S. XVII en España, Universidad Fundación Valdecilla, Madrid, 1965, pp. 549.

Salas, Xavier de, Museo del Prado. Catálogo de las pinturas, Museo del Prado, Madrid, 1972.

Museo Nacional del Prado, Museo del Prado: pintura italiana anterior a 1600, Gredos, Madrid, 1979, pp. 225.

Museo Nacional del Prado, Museo del Prado. Catálogo de las pinturas, Museo del Prado, Madrid, 1985, pp. 32.

Museo Nacional del Prado, Museo del Prado: inventario general de pinturas (I) La Colección Real, Museo del Prado, Espasa Calpe, Madrid, 1990, pp. 175.

Checa Cremades, Fernando, Tiziano y la monarquía hispánica: usos y funciones de la pintura veneciana en España (siglos XVI y XVII), Nerea, Madrid, 1994, pp. 298, n. 124.

Checa Cremades, Fernando, De Tiziano a Bassano. Maestros Venecianos del Museo de Prado, Museu Nacional D'Art de Catalunya, Barcelona, 1997, pp. 172.

Museo Nacional del Prado, Los Bassano en la España del Siglo de Oro, Museo Nacional del Prado, Salamanca, 2001, pp. 90.

Ruíz Manero, J. M., Los Bassano en España, Fundación Universitaria Española, Madrid, 2011, pp. 177-179 n.1L, il. XXXII.

Other inventories +

Inv. Felipe V, Palacio Nuevo, 1747. Núm. 192.
PINTURAS EXISTENTES ANTIGUAS [...] En la tercera pieza [...] {10407} 192 / Otra [pintura] igual a la antecedente [de vara y quarta de largo y vara de cayda] poco mas larga Historia de Noe original de Leandro Basano = 2000 rs

Inv. Carlos III, Palacio Nuevo, 1772. Núm. 192.
Antecamara de S.M. [...] {12683-12684} 191 - 192 / Otras dos pinturas del mismo tamaño la vna es vno de los tiempos correspondientes a los antecedentes [los quatro tiempos del Año de mas de vara de largo y algo menos de caida originales de Basan] y la otra representa el Arca de Noé algo mayor del mismo autor

Catálogo Museo del Prado, 1854-1858. Núm. 610.

Inv. Real Museo, 1857. Núm. 610.
Bassano (Jacobo) / 610. Noé despues del diluvio. / Habiendo salido del arca con su familia y todos los animales, ofrece un sacrificio á Dios. / Alto 2 pies, 10 pulg, 7 lin; ancho 4 pies, 6 lin.

Catálogo Museo del Prado, 1872-1907. Núm. 24.

Inscriptions +

610.
Inscribed in orange. Front, lower left corner

[¿192?]
Inscribed in red color. Front, lower right corner

LAOBRANOTIENETRANSCRIPCIONES

Exhibitions +

Pintura veneciana del siglo XVI de las colecciones del Museo del Prado
Barcelona
04.12.1997 - 08.02.1998

Update date: 05-01-2021 | Registry created on 02-12-2015

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