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The Archduke Leopold Wilhelm in his Picture Gallery at Brussels
Teniers, David
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Teniers, David

Amberes, 1610 - Bruselas, 1690

Miniatura autor

The Archduke Leopold Wilhelm in his Picture Gallery at Brussels

1647 - 1651. Oil on copperplate, 104.8 x 130.4 cm.

Depictions of painting galleries became popular in the Netherlands at the beginning of the 17th century. The exhibition of paintings and other artistic or natural objects was originally a way of manifesting the high social standing of an eminently bourgeois class with a strong desire to ennoble itself. In many cases, the paintings did not rigorously reflect the client’s collection, but served instead as metaphorical allusions to his artistic interests and standing as an art lover. They bore witness to his intellectual and cultural commitment and, in that sense, they were very efficient propaganda tools.

The protagonist of this example is the Archduke Leopold William of Habsburg, governor of the Netherlands from 1647 to 1656, who appears alongside other members of his court on the right. His chamber painter, David Teniers, appears on the other side, with the Count of Fuensaldaña, who participated in the acquisition in England of most of the works visible on the walls. The personages and artworks visible here make this one of the few paintings to depict a concrete, extant collection -a sort of catalog painting of the pictorial wealth built up by the archduke at his palace in Brussels. Most of the works are Italian, but the few Flemish paintings are very important conceptually and symbolically. On the left, Jan Gossaert’s (1478-1532) Saint Lucas Painting the Virgin identifies Teniers’ artistic roots while, on the right, Anton van Dyck’s (1599-1641) Portrait of Isabel Clara Eugenia alludes to Leopold’s position as heir to the government of Brussels. This painting does not convey the idea of a quest for ennoblement common in other galleries, as Leopold was a Habsburg by birth, and this is reinforced by the presence of customary symbols of power, including a sword and dogs. It does, however, justify princely power as manifest in the enjoyment of an exquisite collection of paintings, which the archduke was capable of appreciating for their own merits. This explains why his gaze is directed at Raphael’s Saint Margaret.

By the mid 17th century, painting had triumphed over the other arts and was the leading element of courtly representation -even more so than arms. A prince’s power was no longer measured exclusively in terms of military valor, but also through his taste and appreciation of painting. Teniers painted several similar works for Leopold that were sent to different courts to impress them with his virtues as an art lover possessed of magnificent pictorial treasures. Thus, by sending this work to Philip IV soon after it was painted, the archduke seems to have wanted to honor his uncle as a lover of Italian painting, imitating the collections at Madrid’s Alcázar Palace. He may also have desired to challenge him by showing that the works at his palace in Brussels were able to compete with the King’s collection in Madrid (Text drawn from Pérez Preciado, J. J.: El arte del poder. La Real Armería y el retrato de corte, Museo Nacional del Prado, 2010, p. 126).

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Technical data

Inventory number
P01813
Author
Teniers, David
Title
The Archduke Leopold Wilhelm in his Picture Gallery at Brussels
Date
1647 - 1651
Technique
Oil
Support
Copperplate
Dimension
High/Height: 104.8 cm.; Width: 130.4 cm.
Provenance
Royal Collection (Royal Alcázar Palace, Madrid, “pasillo junto al cubillo de la pieza de la Audiencia”, 1700, n. 141; New Royal Palace, Madrid, “pieza de comer la serenísima infanta”, 1772, n. 143; New Royal Palace, Madrid, “gabiente primero”, 1794, s.n.; Royal Palace, Madrid, “primer gabinete entrando por la pieza de vestir”, 1814-1818, s.n.?).

Bibliography +

Inventario Palacio Real de Madrid. 1686. Vol. III. I Pinturas., Madrid, 1686.

Inventario de las Pinturas del Museo Hecho a la Muerte del R, TEXTO FOTOCOPIADO, [s.n, Madrid, 1834, pp. 62.

L'archiduchesse infante Isabelle-Claire-Eugénie au Musée du, [s.n.], Bruselas, 1925, pp. 42/ lám.32.

Speth-Holterhoff, S., Les Peintres Flamands de Cabinets D'Amateurs Au XVII Siecle, Elsevier, Bruselas, 1957, pp. 45/ lám.11.

Tüngel, Richard, 400 Jahre Kunst, Kultur, und Geschichte im Prado, Schweizer Verlagshaus, Zurich, 1964, pp. 188/ lám.101.

Bernt, Walther, The Netherlandish painters of the seventeenth century, Phaidon, Nueva York-Londres, 1969.

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

Díaz Padrón, Matías, Maitres flamands du dix-septieme siécle du Prado et de collections privées espagnoles, Musees Royaux des Beaux-Arts de Belgique, Bruselas, 1975.

Davidson, Jane P., David Teniers the Younger, Thames and Hudson, Londres, 1979, pp. 21,28.

Robert-Jones, Ph, Bruegel. Una Dynastie de Peintres, EUROPALIA 80, [s.n], Bruselas, 1980, pp. 280,281.

Díaz Padrón, Matías, La Escuela Flamenca del Siglo XVII, Ediciones Alfiz, Madrid, 1983, pp. 88.

Barghahn, Barbara Von., Age of Gold, Age of Iron. Renaissance Spain and Symbols of M, University Press of America, Lanham.Nueva York, 1985, pp. lám.17.

Inventarios reales: testamentaria del Rey Carlos II : 1701-1, Museo del PradoPatronato Nacional de Museos, Madrid, 1985, pp. 438.

Museo Nacional del Prado, Museo del Prado: catálogo de las pinturas, Museo del Prado, Madrid, 1985, pp. 673.

Filipczak, Zirka Zaremba, Picturing Art in Antwerp 1550-1700, Priceton University Press, Princeton, 1987, pp. 62.

Rylands, Philip., Palma Il Vecchio : l'opera completa /, Arnoldo Mondadori Editore, Milan, 1988, pp. 197.

Museo Nacional del Prado, La pintura flamenca en el Prado, IbercajaFonds Mercator, Amberes, 1989, pp. 243.

Vergara, Alexander., The Count of Fuensaldaña and David Teniers: their purchases in London after civil war, The Burlington Magazine, 131, 1989, pp. 127-132.

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

De Bruegel a Rubens. L'Ecole de Peinture Anversoise 1550-165, SnoeckDucalu & Zoon, Antwerpen, 1992, pp. 290.

Buendía, José Rogelio1928-, El Prado. Colecciones de Pintura, Lunwerg Editores, Barcelona, 1994, pp. 442.

Díaz Padrón, Matías, El siglo de Rubens en el Museo del Prado: catálogo razonado, Prensa Ibérica, Barcelona, 1996, pp. 1400.

Anderson, Jaynie, Giorgione. Peintre de la Brievete Poetique, Editions de la Lagune, Paris, 1996, pp. 315.

Museo Nacional del Prado, Los cinco sentidos y el arte, Museo del Prado, Madrid, 1997, pp. 60.

Vlieghe, Hans, Flemish Art and Architecture 1585-1700, Yale University Press, New Haven, 1998, pp. 205/ lám.292.

Copper As Canvas. Two Centuries of Masterpiece Paintings on, Oxford University Press, Oxford, 1999, pp. 293.

El arte en la corte de los archiduques Alberto de Austria e, Sociedad Estatal para la Conmemoración de los Cent, Madrid, 1999, pp. 306.

Museo Nacional del Prado, La almoneda del siglo: relaciones artísticas entre España y y Gran Bretaña: 1604-1655, Museo Nacional del Prado, Madrid, 2002, pp. 259.

Checa Cremades, Fernando, Cortes del Barroco : De Bernini y Velazquez a Lvca Giordano, SeacexPatrimonio Nacional, Madrid, 2003, pp. 285/8.5.

Schreiber, Renate, ''Ein Galeria nach meinem Humor'' Erzherzog Leopold Wilhelm, Kunsthistorisches Museum, Viena, 2004, pp. 104.

Stoichita, Victor, 'La visita en el gabinete de pintura' en Historias mortales: La vida cotidiana en el arte, Galaxia gutenberg, Barcelona, 2004, pp. 243.

Humfrey, Peter (1947-)), The Age of Titian : Venetian Renaissance Art From Scottish C, National Galleries of Scotland, Edinburg, 2004, pp. 43.

Vlieghe, Hans, 'Frayicheyt ende kunst daer syne inclinatie toe stryck' beschouwingen over het mecenaat van aartshertog Leopold-Wilhelm tijdens zinj landsvoogdij over de Zuidelijke Nederland (1647-1656) ; in Sponsors of the Past. Flemish Art and Patronage 1550-1700, Brepols, Brussels, 2005, pp. 63.

David Teniers and the Theatre of Painting, Courtauld Institute of Art Galler, Londres, 2006.

Enciclopedia del Museo del Prado, II, T.F. Editores: Fundación Amigos, Madrid, 2006, pp. 406.

Alpers, Svetlana, Por la fuerza del arte : Velázquez y otros, Centro de Estudios Europa Hispáni, 2008, pp. 133-171.

Díaz Padrón, Matías, El lienzo de Vertumno y Pomona de Rubens : y los cuartos bajos del Alcázar, [Rubens Picture Ltd], 2009, pp. 102.

Suchtelen, Ariane Van, Room for art in seventeenth-century Antwerp, Waanders, 2009, pp. 17-50, 124 / 20.

El arte del poder : la Real Armería y el retrato de corte, Museo Nacional del Prado: Socied, 2010, pp. 126-127.

Rubens, van Dyck, Jordaens : barock aus Antwerpen, Hirmer, 2010.

Martínez Leiva, Gloria; Rodríguez Rebollo, Angel, La Última Cena de Cristo: Velázquez copiando a Tintoretto, Archivo español de arte, Oc-Di, 2011, pp. [313-335] 314.

Mena Marques, M, La belleza encerrada: de Fra Angelico a Fortuny, Museo Nacional del Prado, Madrid, 2013, pp. 263.

Mena, M. Albarrán, V., La belleza encerrada: de Fra Angelico a Fortuny, folleto, Museo Nacional del Prado, Madrid, 2013, pp. 34 n.150.

Haskell, Francis, The King´s pictures. The formation and dispersal of the collections of King Charles I and his Courtiers., Yale University Press, London, 2013, pp. 160 fg.161.

Moran, Sarah Joan, The righ hand of Pictura's perfection. Cornelis de Bie's Het Gulden cabinet and Antwerp art in the 1660s., Nederlands kunsthistorisch jaarboek, 64, 2014, pp. 370-399 [382].

Other inventories +

Inv. Testamentaría Carlos II, Alcázar de Madrid, 1701-1703. Núm. 141.
Pasillo Junto al Cubillo de la Pieza de la Audiençia [...] 141 / Ytten Una lamina de Vara y media de ancho y Vara y quarta de altto de diuersas Pintturas Ymitando a sus auttores echa en flandes Con los rettrattos del señor Archiduque leopoldo y el Conde de fuensaldaña de mano de Dauid teniers tasada en Un mill Doblones ... 1000

Inv. Alcázar, Madrid, 1734. Núm. 143.
PINTURAS QUE SE LLEVARON A LA ARMERIA [...] {9222} 143 / Vn lamina en cobre de vara y quarta de alto y vara y media de largo de la Camara del Duque de Florencia del estudio de Pintura original de David Theniers

Inv. Carlos III, Palacio Nuevo, 1772. Núm. 143.
Pieza de comer la Serma. Infanta [...] {12916} 143 / Vna pintura en lámina que contiene la camara o estudio de David Theniers con varias pinturas expresadas por diferentes partes de vara y media en quadro original del expresado Theniers

Inv. Testamentaría Carlos III, Palacio Nuevo, 1794. Núm. s. n..
Gavinete primero [...] {204} Vara y media de largo y cinco quartas de alto: Un Estudio de Pintura del mismo David Teniers con infinidad de quadros ... 20.000

Inv. Fernando VII, Palacio Nuevo, 1814-1818. Núm. ¿s. n.?.
Primer gabinete entrando por la pieza de Vestir [...] Gabinete con coleccion de Pinturas = Teniers

Inv. Real Museo, 1857. Núm. 1274.
David Teniers. / 1274. Galeria de cuadros del archiduque Alberto. / El mismo Teniers esta en actitud de enseñar al archiduque, a quien acompañan tres personages, los dibujos de los cuadros que compro por su encargo y que / despues fueron grabados. Los cuadros que componen la galeria son conocidos; entre ellos esta la Danae de Tiziano, Calisto en el baño de Diana, del mismo etc. (cobre.) / Alto 3 pies, 9 pulg, 6 lin; ancho 4 pies, 7 pulg, 6 lin.

Catálogo Museo del Prado, 1873-1907. Núm. 1747.
1747.-(1274-N.)- Galería de cuadros del Archiduque Leopoldo Guillermo, en Bruselas.-En una régia estancia, decorada con cuadros de Tiziano, Palma, Veronés y otro célebres maestros, está David Teniers enseñando el Archiduque y al conde de Fuensaldaña los dibujos y objetos de arte que reune para aquel soberano. (Véase nuestro Catálogo extenso.)-Un cuadro compañero de éste se conserva en la Galería Imperial de Viena. / Col. de Carlos II, R. Alc. y Pal. de Madrid.-F.L. / Alto 1,06; ancho 1,29.-C.

Exhibitions +

Metapintura. Un viaje a la idea del arte.
Madrid
08.11.2016 - 12.02.2017

Captive Beauty. Fra Angelico to Fortuny
21.05.2013 - 10.11.2013

Bibliotheca Artis: Treasures from the Museo del Prado library
05.10.2010 - 30.01.2011

The Art of Power. The Royal Armoury and court portraiture
09.03.2010 - 23.05.2010

Willem van Haecht and 17th Century Antwerp Cabinet Pictures
Amberes
28.11.2009 - 28.02.2010

David Teniers and the Theatre of Painting
Londres
19.10.2006 - 21.01.2007

Bernini, Velázquez, Luca Giordano. Le Corti del Barocco - Cortes del Barroco
Madrid
15.10.2003 - 15.01.2004

La Almoneda del Siglo. Relaciones artísticas entre España y Gran Bretaña, 1604 - 1655
Madrid
15.03.2002 - 02.06.2002

El arte en la corte de los archiduques Alberto e Isabel Clara Eugenia (1598-1633). Un reino imaginario
Madrid
02.12.1999 - 27.02.2000

Copper as Canvas: two centuries of masterpiece paintings on copper, 1575-1775- Grandes maestros pintores sobre cobre
Kansas City MO (Estados Unidos)
28.03.1999 - 13.06.1999

Copper as Canvas: two centuries of masterpiece paintings on copper, 1575-1775- Grandes maestros pintores sobre cobre
Phoenix AZ
12.12.1998 - 28.02.1999

Die antwerpener malerschule 1550-1650 (La Escuela de Amberes 1550-1650)
Viena
01.04.1993 - 20.06.1993

Die antwerpener malerschule 1550-1650 (La Escuela de Amberes 1550-1650)
Amberes
19.12.1992 - 07.03.1993

Die antwerpener malerschule 1550-1650 (La Escuela de Amberes 1550-1650)
Colonia
04.09.1992 - 22.11.1992

Location +

Room 016B (On Display)

Expuesto
Update date: 21-09-2016 | Registry created on 28-04-2015

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