The young woman wears a skirt and a sheer piece of cloth across her chest. Gerbrand van den Eeckhout (Dutch, 1621-1674), European Painting and Sculpture Before 1800. Klinkert, Christi M., and Yvonne Bleyerveld, eds. 32-33, ill., entry by Bengt Kylsberg. Painting Beauty: Caesar van Everdingen (1616/1617-1678), exh. ]Source: annotated auction catalogue (GRI): Christies, London. Christies, London. 44, ill. Blankert, Albert. B. Paterson, 1904), no. Jaffé, David. After telling Pomona stories of love, he removed his disguise and won her hand. Ovid describes his love affair with Pomona and, according to legend, Vertumnus wore the mask of an old woman to conquer her. The subject of this painting comes from Ovid's Metamorphoses. Both paintings include Ovidian metaphors of fertility, including a fruit tree and a fruit-bearing vine. A lead sculpture, representing Vertumnus and Pomona.Pomona has flowers in her hair and is depicted sitting with a basket of fruit in her lap. Central Picture Galleries (New York, New York), sold to the J. Paul Getty Museum, 1975. The god Vertumnus transformed himself into the form of a ragged old woman to gain her confidence. Konst att se: Scener ur den Hallwylska målerisamlingen (Stockholm: Hallwylska museet, 2008), pp. Please contact Annette Schlagenhauff, Curator of European Art, at aschlagenhauff@discovernewfields.org if you have questions, or if you have additional information to share with us. Coats, Esq. Summary Catalogue of European Paintings in the J. Paul Getty Museum (Los Angeles: J. Paul Getty Museum, 1997), p. 40, ill. Janssen, Paul Huys. xvi. Williams, Julia Lloyd, ed. Museo de Arte de Ponce (Ponce, Puerto Rico), sold to Central Picture Galleries. ]Note: as Flinck, "Vertumnus and Pomona". November 16, 1960, Private Collection [sold, Dorotheum, Vienna, December 1, 1964, lot 34, to the Museo de Arte de Ponce. Kneeling, a young woman turns away from the viewer to listen to an old woman whose open mouth and gesticulating hand indicate that she is in the midst of speech. She kept her orchards closed because she wanted to rid of the men who were attracted to her good looks. Netherlandish painters favored this classical story in the 1600s because of its moralizing lessons on the dangers of gullibility. Catalogus van de belangrijke [...] veiling van oude schilderijen [...]. 114-15, no. Catalogue of Old Master Paintings and Drawings. December 1, 1964, p. 7, lot 34. Held, Julius. December 16, 1935, p. 11, lot 20. Vertumnus, standing, places his right hand on the woman’s shoulder, while his left hand holds a mask. Both paintings include Ovidian metaphors of fertility, including a fruit tree and a fruit-bearing vine. To avoid potential data charges from your carrier, we recommend making sure your device is connected to a Wi-Fi network before downloading. This information is published from the Museum's collection database. In contrast to Bloemaert's treatment of the subject, Eeckhout's chastely clad Pomona downplays the inherent eroticism of the theme. 64-65, fig. / [PARIS] / [CENTRALE]”; lower left, black circular stamp, circled in white chalk, illegible; lower left, black diamond stamp, circled in white chalk: “ZOLLAMT / [? Moltke, Joachim Wolfgang von. 69. Caesar van Everdingen, 1616/17-1678: Monograph and Catalogue Raisonné. Kunstauktion. The content on this page is available according to the International Image Interoperability Framework (IIIF) specifications. She holds a cluster of fruit in her right hand and a pruning knife in the other. 6. Signed on the back of the base: Camille Claudel. In contrast to Bloemaert's treatment of the subject, Eeckhout's chastely clad Pomona downplays the inherent eroticism of the theme. Pomona and Vertumnus . ]”; upper left, black circular stamp: “DOUANE / EXPORTATION [?] Ferdinand Bol (1616-1680): Rembrandt's Pupil (Doornspijk: Davaco, 1982), pp. Gerbrand van den Eeckhout painted the subject of Vertumnus and Pomona at least three times. With her face lost in profile, her naked neck, arms, and voluptuous breasts are displayed for the delectation of the male spectator. The text on this page is licensed under a, All Getty Research Institute Publications, Conservation Perspectives, The GCI Newsletter, GCI Reference Collection (for materials analysis), Research Assistance at GCI Information Center, Links to Cultural Heritage Policy Documents, Creative Commons Attribution 4.0 International License, International Image Interoperability Framework (IIIF). ]Note: as G. Flinck, "Vertutine en Pomona", Private Collection [sold, Sotheby's, London, November 16, 1960, lot 34, to Teltscher. Coats, Esq. Jun 28, 2020 - Explore Sabina Hatibović's board "ART - VERTUMNUS AND POMONA", followed by 6031 people on Pinterest. Updates and additions stemming from research and imaging activities are ongoing, with new content added each week. Coats, Esq. See more ideas about Pomona, Art, Painting. 75.PA.64. Images and other media are excluded. Provenance research is on-going at the Indianapolis Museum of Art at Newfields. ]ONA”; upper center, in black: “51 x 41 / 2515”; upper right, in black: “263”; center left, in black: “8”. Catalogue of Ancient and Modern Pictures and Drawings of the British and Continental Schools: The Property of the Late W.A. 566. You may view this object in Mirador – a IIIF-compatible viewer – by clicking on the IIIF icon below the main image, or by dragging the icon into an open IIIF viewer window. Additional caption information is provided with the downloaded image files and image use contracts, if applicable. Vertumnus and Pomona Cesar van Everdingen (Dutch, about 1617 - 1678) 104.1 × 140 cm (41 × 55 1/8 in.) November 16, 1960, p. 22, lot 131. cat. ed. June 10, 1927, p. 14, lot 103. Please complete the following questions to further improve the image files and metadata made available to Newfields users. Pomona was the Roman nymph of fruit (poma), who had a sacred wood, the Pomonal.