The Crane on the Antwerp Quay by the Frozen Scheldt, Sebastiaen Vrancx, 1622 – (Sebastiaan Vrancx Or Sebastian Vranckx) ◄ Előző Következő ►

Artist: Sebastiaan Vrancx Or Sebastian Vranckx

találka: 1622

méret: 58 x 114 cm

Technika: Oil On Panel

There is no reason to doubt the authenticity of this initialed and dated, panoramic view of the city Antwerp and the river Scheldt, which records the severe winter of 1620 or 1621 when the river froze over,12 and provides a detailed social survey of the city (even discounting the wilful identifications in the Kesler sale catalogue) from the beggar at the left, to the patrician lady stepping from her coach attended by her black page. Perhaps remarkable is the near absence of clerics: only two Norbertines are depicted in the middle distance. Sebastiaen Vrancx’s standpoint is an imaginary position above the ice near the Werf, the main dock of Antwerp harbour, looking south. The view stretches some 500 metres as far as the tower of the church of St Michielsabdij if not the Citadel beyond. A precedent for a profile view of the Antwerp quays and of the city beyond of 1610 was that engraved by Johannes Baptista Vrints (1535/55-1610).13 On the right is the Flemish Bank with the village and fort ’t Veer in the distance. The Werf was some 70 metres wide and dominating it is the Crane or Kraanenhoofd, which was some 15.7 metres high.14 Reports of such a structure on the wharf date back to 1263. The famous crane depicted here was built in 1546 and remained in use until 1811; it was demolished in 1882/83 when the quays along the Scheldt were straightened. Detailed drawings of the mechanism were made in 1810; similar structures were in use in the ports of Bruges, Hamburg, London, Southampton and Bristol.15 Diagonally opposite is the Werfpoort, the position of which Vrancx has adjusted so that it could be included. Reconstructed in 1579 and demolished in 1812, it is topped by a sculpture of Silvius Brabo, the legendary Roman hero, founder of Antwerp and first duke of Brabant. He holds up the hand of Druon Antigone which he had cut off after slaying the giant, who had terrorised the area by amputating hands of those who refused to pay the tolls he extorted on the river. Behind the Werfpoort are the spires of the St Walburgiskerk despoiled in 1814 and demolished in 1820; just to the right may be the south-west tower of the Meat House or Vleeshuys; and beyond is the spire of the Onze-Lieve-Vrouwekerk. Beyond the crane on the river is the Fishmongers’ Tower, the Viscooperstooren, built in 1340 and demolished in 1882/83. Further on is the Bakers’ Tower (the Bakkerstooren) and shipping lodged in the ice beside the Wood quay (Houtkaaj) opposite the Hay gate (Hoypoort). Held, in his study of Willem van Haecht’s art cabinet of Cornelis van der Geest (1555-1638) of 1628 (Rubenshuis, Antwerp) in which this picture may have been included, was the first to point out that the view depicted by Vrancx would have been similar to that which Cornelis van der Geest could have seen from his house, suggesting that he may have commissioned the work.16 His house backed on to the Scheldt at the northern end of the Werf; but in fact it was set too far back for the sweep of the quays to the south to be observed from it. Vrancx has compensated for this by adopting an imaginary viewpoint – as pointed out above – and at least so far as the foreground is concerned, the proportions and layout are inaccurate. Given the wealth of the apparently accurate topographical details and acute observation of a wide variety of Antwerp’s population, it must be assumed that Vrancx made numerous studies ‘naer het leven’. But as Vander Auwera has pointed out, none has survived apart from the Roman Sketchbook at Chatsworth House, Derbyshire.17 Vrancx had painted a view of the Werf and Crane looking north a few years previously.18 Held suggested that Vrancx was required to depict the river frozen over as a memorial to that event in 1608, for it was then that Van der Geest became dean of the merchants’ guild. That is as may be; indeed the present picture – executed on a single piece of oak which cannot be dated – may well have been a commission from Van der Geest but perhaps simply to record the recent hard winters. The inventory of his collection has not been traced.19 Gregory Martin, 2022