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| Image | Sale date | Auction house | Location | Sale name | Lot No. | Estimate | Price Sold | Condition | Title |
|---|---|---|---|---|---|---|---|---|---|
May 15, 2015 | Van Ham | Cologne | Alte Kunst | 504 | $****** - ****** | Apollo hazing Marsyas |
paintings
191 x 154 cm (75.2 x 60.63 in)
oil on canvas
French private collection. The Satyr Marsyas finds Athena's flute, which she threw away before due to vanity and he plays on the flute. He presumptuously attributes the divine sounds to his abilities and therefore accepts the artistic competition which the furious Apollo requests. The stake for this competition of the flute against the divine lyre or vielle is that the winner is in charge of the loser. At first Marsyas does well, but he has to give in when he is challenged to sing and at the same time play the flute. Apollo punishes him horribly for wanting to put himself on an equal footing with the theotechny. While the old and tormented Satyr lies on the ground with his face twisted in pain, the divine winner Apollo defines the painting in every respect. Juvenile, dynamic, strong and determined he grabs the Satyr's leg and skins him alive without any signs of pity. He still holds the knife in his hand and with one foot he steps on the shackled Marsyas. His light skin, the juvenile head crowned by a laurel wreath and his dramatically moving cloak attract the spectators attention. The individuals are subordinated to the brown shade of the whole painting. The dramatic art of the event is increased by the diagonal posture of Apollo, by his moving cloak and especially by the strong contrasts of light and dark on his skin. The scene takes place in an undefined landscape, Apollo's vielle can be seen on the ground at the front margin of the painting.The painting is attributed to the Caravaggio school. In particular the type of Apollo makes recall the depictions of young men by Caravaggio. However, the entire composition is more simple and the coloring is more clayey than in the works of the great master. The Caravaggio expert Maurizio Marini considered an attribution to Orazio Riminaldi possible. This painter from Pisa who died in 1630 painted in the style of Caravaggio and often depicted similarly radical scenes. Therefore this attribution seems to be more probable than the attribution of the second expert, Leonard Slatkes, who proposed an attribution to the Utrecht painter Johan Moreelse, son of the famous portait painter Paulus Moreelse
