
Panel - 17,9 x 14.8 cmPortraits, XVth and XVIth paintings
Provenance: private collection
In this highly original portrait, where the model is neither quite three-quarters nor full face, Corneille de Lyon creates an astonishing effect of instantaneity...
read moreProvenance: private collection
In this highly original portrait, where the model is neither quite three-quarters nor full face, Corneille de Lyon creates an astonishing effect of instantaneity and naturalness. Belonging to a private collection for almost two hundred years, this work is wonderfully well preserved, retaining all its original freshness and its deft touch. The man proudly flaunts his luxurious wardrobe composed of a black beret with a white feather and a shirt with a collar and cream-coloured doublet, both embellished with gold thread. Unfortunately, the identity of the figure is unknown but his richly decorated clothing would indicate a high rank in the society of the day.
Corneille de Lyon has painted this work in stages, first applying the green background before working on the character’s face. The latter is depicted in a highly natural manner. The painter has taken the decision to portray his subject from a particularly difficult angle: his head is shown slightly turned to the right. The head’s strong bone structure creates a feeling of determination. Corneille outlines the contours of the nose and the eyes, taking into account the variations in light and shade that punctuate the pale pink complexion. The hair and closely trimmed beard are meticulously painted. The face’s expression is deliberately strong; the figure’s piercing and vigorous stare gives the work a particular energy.
As is often the case in Corneille’s work, the figure’s body is less precisely rendered. The doublet and shirt are indeed depicted with less finesse, but the vitality emanating forth gives the painting a strangely modern feel. Only a few brushstrokes are required of the painter to express all the fluidity and delicacy of the clothing.
Anne Dubois de Groër considers this panel to be one of Corneille de Lyon’s mature works, dated approximately 1555. Of an exquisite quality and finesse, this portrait reveals a Corneille de Lyon at the height of his art.
Literature : A. Dubois de Groër, Corneille de La Haye dit Corneille de Lyon (1500/1510 - 1550), Paris, 1996, catalogue raisonné no. 117, p. 207.
More informations
circa 1500 The Hague - Lyon circa 1574
Corneille of Lyon or of the The Hague, owing to his Dutch origins, apparently came to work in Paris, before settling in Lyon, where his presence was recorded...
read morecirca 1500 The Hague - Lyon circa 1574
Corneille of Lyon or of the The Hague, owing to his Dutch origins, apparently came to work in Paris, before settling in Lyon, where his presence was recorded as from 1533, as a portrait painter in the service of Queen Eleanor and then the Dauphin Henri II. He obtained French nationality in 1547 and was mentioned as the painter and valet of King Henri II in 1551 and then of Charles IX. According Brantôme, Catherine di Medici came to visit Corneille in June 1564.
A whole series of small half-bust portraits are attributed to him, representing the glamorous court of the Valois, with a smooth, precise workmanship, devoid of material and worked with glaze. His highly personal style focuses on finely featured faces, seen from a slight angle or head-on, and modeled without any shading. The importance bestowed on the head sometimes accounts for a slight disproportion with the torso. His effigies are characterized by their grace and elegance, aristocratic grace, as well as an overall realism and sharp sense of observation for costume, embroidery, head-gear and detailed jewelry “à la flamande“.
Following in the same tracks as the Clouets, who had arrived from Brussels, he thus introduced Flemish workmanship and temperament to France. In exulting the native qualities associated with the tradition of the Parisian miniature portrait, Corneille de Lyon created and defined a Franco-Flemish genre that was able to meet an ever-growing and enthusiastic requirement of the court collectors who made his fame.