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Museo Nacional Thyssen-Bornemisza, Madrid
Emanuel de Witte

Interior of a Gothic Church

Oil on panel.
52.1 x 40.2 cm
Museo Nacional Thyssen-Bornemisza, Madrid
Inv. no.
439
(
1972.10
)
ROOM 25
Level 2
Permanent Collection
1 2 3 4 5 6 7 8 9 10 11 12 14 13 15 16 17 18 22 19 20 21 23 24 25 26 27 28 29 Recommended start of the visitClassical rooms
1 14th Century. Early Italian Painting 2 15th Century. German and Spanish Painting 3 15th Century. Early Netherlandish Painting 4 15th Century. Italian Painting 5 15th and 16th Centuries. Renaissance Portraiture 6 16th Century. Villahermosa Gallery 7 16th Century. Italian Painting 8 15th and 16th Centuries. German Painting 9 15th and 16th Centuries. German Painting 10 16th Century. Netherlandish Painting 11 Tiziano, Tintoretto, Bassano and  El Greco 12 17th Century. Caravaggio and Baroque Painting 13 17th Century. Italian, French and Spanish Painting 14 17th Century. Italian, French and Spanish Painting 15 17th Century. Italian, French and Spanish Painting 16 18th Century. Italian Painting 17 18th Century. Italian Painting 18 18th Century. Italian Painting 19 Classical rooms 20 Classical rooms 21 Classical rooms 22 18th Century. Italian Painting 23 17th Century. Dutch Painting. Landscape 24 18th Century. French and English Painting 25 17th Century. Dutch Painting. Scenes of Daily Life and Interiors 26 17th Century. Dutch Painting. Landscape 27 17th Century. Dutch Painting. Portrait 28 17th Century. Dutch Painting. Landscape 29 19th Century. European Painting. Goya and Romanticism  
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Discover some of the secrets and details invaluable to the human eye in this work.

In January 1652 De Witte left the city of Delft and moved to Amsterdam. During that decade his work also underwent a marked change that led him to focus on architectural views in the form of church interiors. In contrast to Saenredam’s views of this type, however, they are not strictly accurate. Rather, De Witte based himself on real interiors, some of which are recognisable in his paintings, using them to create imaginary views depicted with a high level of realism. The painter manipulated these church interiors in order to magnify their proportions and sense of solidity and spaciousness. Rather than using line, colour and light (which he applied in a geometrical manner), he focused on increasing the spatial recession to achieve these effects. Despite the use of these pictorial devices, his interiors never seem unreal or out of proportion and are always created through a highly complex perspectival structure.

The present signed and dated panel belonged to the Rev. Thomas H. Langford-Sainsbury in Beckington and was then in the collection of Arthur Kay in Edinburgh. It was subsequently auctioned in London and was with several more owners until a further auction in Amsterdam where it was acquired by the Cramer gallery in The Hague. From there it entered the Thyssen-Bornemisza collection.

De Witte depicts part of the crossing and chancel seen from the central aisle. The foreground, which is in soft shadow, is illuminated by a strong ray of light that enters from the upper windows and falls in patches on the floor and shafts of the columns. This atmospherically shady area leads on to the crossing and to the background where we see the chancel, illuminated by the high, narrow windows around its walls. In order to create a sense of depth De Witte used a receding line of arches with columns to create a diagonal that is emphasised by the line of brass chandeliers hanging from ropes from the ceiling. The colours also help to achieve the spatial complexity with the white tones tinted yellow by the sunlight and alternating with the greys and browns of the foreground. This colour range is to be found in numerous other works by the artist.

As Noach noted, some elements in this composition are inspired by the Oude Kerk in Amsterdam, for example, the chancel with its three windows, which is based on a chapel in that church. This panel was the subject of a photographic and infra-red analysis whose results were published by Gaskell. It revealed various changes that affected the depiction of the architecture. The figure of the gravedigger working in the interior is frequently found in De Witte’s paintings.

Mar Borobia

17th Century - Dutch paintingPaintingOilpanel
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Interior of a Gotic Church. Interior de una Iglesia gótica, ¿166[9]?
Interior of a Gothic Church
Emanuel de Witte

©

Museo Nacional Thyssen-Bornemisza, Madrid

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Interior of a Gotic Church. Interior de una Iglesia gótica, ¿166[9]?
Interior of a Gothic Church
Emanuel de Witte

©

Museo Nacional Thyssen-Bornemisza, Madrid

Terms of Use

The Photographic Archive of the Museo Nacional Thyssen-Bornemisza offers sale and rental service of photographic material of all the works on its Permanent Collection.

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