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Gerard WigmanaPortrait of a Lady with Jewels Dutch School 18th century Signed with Frameabout 1720-30
about 1720-30
$10,087.62
£7,524.71
€8,500
CA$14,040.46
A$15,062.90
CHF 8,079.43
MX$181,355.30
NOK 101,850.70
SEK 92,873.73
DKK 64,776.47
About the Item
Portrait of a woman with jewelry, early 18th-century Dutch school by painter Gérard Wigama (1673-1741). Monogram in the lower right corner on the base of the GW column. Fine Arts export certificate available.
Gerard Wigmana was born in Workum in Friesland as the son of merchant Jan Tiaerdts and his wife Gaitske Gatzes Wigmana-interestingly, he took his mother's surname. Wigmana developed a passion for painting from an early age, as evidenced by an incident following his father's death around 1688: when his mother wanted him to learn a decent trade, Wigmana responded by saying, "If I can't not learn to paint, let me learn to weave," meaning that he wanted to become a painter at all costs Wigmana took drawing lessons from a local glass painter and studied with the German painter Joachim Burmeister, before becoming a pupil of Jelle Sybrandi, a member of the Society of Dutch painters He then embarked on a Grand Tour southward from 1698 to 1702, visiting Paris, where he studied at the Royal Academy for a year and a half at the beginning of the trip, after which he continued on to Rome, where he arrived on. November 14, 1699 and entered the workshop of painter Giovanni Maria Morandi, himself a pupil of Pietro da Cortona. In the Eternal City he also met artist Daniel Seiter and provided details about the latter's life to biographer Arnold van Houbraken. He copied three paintings by Raphael in Rome and is also known to have copied a painting by Titian in Modena.
By 1702 Wigmana had returned to the north and was living in Dokkum and Leeuwarden, where he married in 1707; he established himself as an independent teacher, and the esteem of his talent is evidenced by his tenure as art teacher of the children of Princess Henrietta Amalia Johan Willem Friso and her seven sisters, which he maintained for seven years. The artist then moved to Amsterdam. He also undertook a short trip to London in 1737.
Wigmana's stay in France and Italy, where he studied the works of the great Renaissance masters, proved to be very influential on his work. According to biographer Johan van Gool, the artist made so many copies of Raphael that he became known as the "Frisian Raphael." Wigmana had sincere views on the development of contemporary painting, which he expressed on paper and which were published under the title "Korte schets de denkbeeld, Om tot een groote volmaaktheid in de schilderkonst te geraken," printed posthumously in 1742 by bookseller Jacobus Ryckhoff-Wigmana lists nearly fifty artists from whom he found inspiration. In addition to Raphael, Correggio, Guido Reni, Veronese and Titian are also mentioned.
The paintings that Wigmana made after his return from the South can be described as works typical of the classical school of "fijnschilder" or fine painters, who excelled in the refined and minutely detailed depiction of textiles and weaves. He was quite famous in the 18th century, but was largely forgotten in the next, and it was only with a publication by Theodor von Frimmmel in 1907 that his name entered the annals of art history. Because of this relative obscurity, many of his paintings have been attributed to other artists of the period, including Willem van Mieris and Adriaen van der Werff, and the process of identifying Wigmana's works continues to this day. To date, several dozen of his paintings are known, most of them depicting mythological, religious and allegorical scenes, but also numerous portraits.
This recently discovered work, in excellent condition, is a typical example of his elegant style and is also signed by the artist. The beautiful lady depicted, richly dressed, proudly displays her jewelry. His ivory skin glows against the background, a detail typical of all Wigmana's paintings.
Studying the painting with an electron microscope brought the monogram to light. We thank the Turquin cabinet in Paris for confirming the attribution.
In an 18th-century frame of carved natural oak.
- Creator:Gerard Wigmana (1673 - 1741, Dutch)
- Creation Year:about 1720-30
- Dimensions:Height: 30.71 in (78 cm)Width: 25.6 in (65 cm)
- More Editions Sizes:tela cm 58,2 x 46,5Price: $10,088
- Medium:
- Movement Style:
- Period:1720-1729
- Condition:In excellent condition. The painting underwent exclusively a cleaning at a specialized restoration laboratory in Milan.
- Gallery Location:Pistoia, IT
- Reference Number:1stDibs: LU2746216735512
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