Trompe L’oeil. The Reverse of a Framed Painting

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Cornelius Norbertus Gijsbrechts (Flemish, Active 1657 - 1675)

Trompe l'oeil. Bagsiden af et indrammet maleri, 1668-1672, Olie på lærred

Med fraværet af den ramme, der normalt udgør den hævdvundne arkitektoniske overgang mellem betragterens virkelighed og den malede billedverden, er den flamske maler Gijsbrechts’ værk på vej ud over maleriets gængse virkefelt og ind i teaterkulissens illusionistiske domæne.

Øjenbedrag
Øjenbedraget er der. Set på lang afstand snydes man virkelig til at tro, at maleren har stillet et maleri fra sig på gulvet med bagsiden udad. Med sin evne til at overraske og snyde beskueren, var værket selvskrevet som kunstkammergenstand.

Et søsterværk
Et søsterværk, som forestiller et staffeli med et stilleben på hylden og bagsiden af et maleri ved foden, alt sammen udskåret efter de malede genstandes kontur, er beskrevet i Det Kongelige Danske Kunstkammers første inventarium. Det er dateret 1674 og ordene er: "En frugtstøche med Contrafejers instrumenter maalit paa Perspectiv."

Kunstkammeret
Dengang var kunstkammeret endnu på Københavns Slot, men da enevoldskongen nogle år senere indrettede kunstkammeret i en nyopført bygning, det nuværende rigsarkiv, blev staffeliet og formentlig også Bagsiden af et indrammet maleri del af forstuens udsmykning.


Trompe l'oeil. The Reverse of a Framed Painting, 1668-1672, Oil on canvas

With the absence of the frame that traditionally serves as the architectural transition between the spectator’s reality and the picture’s painted universe, this work by the Flemish painter Gijsbrechts is moving beyond the usual realms of art and into the illusionistic domains of the stage.

The deception of the eye
The deception of the eye is certainly there. When viewing the picture from afar, we are truly cheated into believing that the artist has left a painting behind on the floor with its reverse facing outwards. With its ability to surprise and deceive the spectators, this work was eminently qualified to be part of the royal Kunstkammer.

A cutout
Another cutout - showing an easel bearing a still life and the reverse of a painting standing at its foot, the actual panel cut out to follow the contours of the objects painted on it - is described in the Royal Danish
Cabinet of Curiosities’ first inventory from 1674 as: "A stand with painter’s paraphernalia painted on perspective."

The Royal Danish Cabinet of Curiosities
Back then the cabinet of curiosities was still housed at the Copenhagen Castle, but a few years later when the monarch set up the cabinet in a new building, the present-day Danish National Archives, the easel became part of the décor of the entrance hall where it was presumably joined by The Reverse of a Framed Painting.

Details

The prints are individually crafted in heavy duty 280 gram Museum Quality Art Print paper.

Ordered framed the artwork is custom mount, cut perfectly to your image.
Delivered fully strung, ready for hanging.

Created from high-quality wood, milled with simple clean lines and presented with a satin finish.
This frame has a square profile measuring 20mm (front face) by 23mm (depth from wall).

Available in black or natural.