Trompe l'Oeil of an Etching by Ferdinand Bol

Niederländische Malerei 1675–1907, circa 1675

It appears that a piece of paper printed in black and gray, showing a portrait of an older, bearded man, has been stuck to a wood panel using a red wax seal in this vertical composition. The cream-colored paper is crinkled and creased with wide margins around the portrait. The printed portrait shows a man from the chest up, angled to our right but looking out at us. The inner corners of his eyes are in deep shadow and he has a bulbous nose over a long, full beard. He wears a wide, soft hat tipped down to our right. He wears a heavy coat or jacket, possibly fur. His hands rest on the top of a cane, suggesting he is seated. A cross hangs from a long chain around his neck. The print is signed at dated at the top right corner of the printed image: “F. Bol. F 1642.” The glimmering red wax seal holding the paper to the wood board is imprinted with a shield. The wood itself is light tan almost with a greenish tint, and it has a dark knot near the lower left corner. Only upon closer inspection do we realize that the entire work is a single painting, and is not an actual print affixed to a wooden board.
Artista
Niederländische Malerei 1675–1907
Datazione
circa 1675
Tipologia
Dipinto
Tecnica
Olio su tavola
Dimensioni
37,5 × 31,4 cm
Collezione
National Gallery of Art, Washington
Licenza
Pubblico dominio, CC0

Descrizione dell’immagine

It appears that a piece of paper printed in black and gray, showing a portrait of an older, bearded man, has been stuck to a wood panel using a red wax seal in this vertical composition. The cream-colored paper is crinkled and creased with wide margins around the portrait. The printed portrait shows a man from the chest up, angled to our right but looking out at us. The inner corners of his eyes are in deep shadow and he has a bulbous nose over a long, full beard. He wears a wide, soft hat tipped down to our right. He wears a heavy coat or jacket, possibly fur. His hands rest on the top of a cane, suggesting he is seated. A cross hangs from a long chain around his neck. The print is signed at dated at the top right corner of the printed image: “F. Bol. F 1642.” The glimmering red wax seal holding the paper to the wood board is imprinted with a shield. The wood itself is light tan almost with a greenish tint, and it has a dark knot near the lower left corner. Only upon closer inspection do we realize that the entire work is a single painting, and is not an actual print affixed to a wooden board.

Niederländische Malerei 1675–1907