|Collection||Russell-Cotes Art Gallery and Museum, Bournemouth|
|Artist|| Attributed to Horemans, Peter Jacob (Flemish artist, 1700-1776)
Previously attributed to circle of Horemans, Jan Josef, I (Flemish painter, 1682-1752)
|Date Earliest||possibly about 1725|
|Date Latest||possibly about 1750|
Banqueting Scene has traditionally been attributed to a follower of the Antwerp painter Jan Joseph Horemans I (1682-1752), the first of a distinguished family of painters spanning five generations. While their many hands are not easily distinguishable, the stylistic traits of Peter Jacob Horemans (1700-1776), the younger brother and pupil of Jan Joseph Horemans I, may be discerned in the Russell-Cotes painting, notably in its crude technique, the representation of figures in contemporary dress and the rigorous architectural framework of the picture.
In Banqueting Scene a diverse group of figures dressed in various costumes are represented. To the left a Chinese man is smoking a pipe. Seated to the right, a man dressed in red and blue may be a Bavarian, while the olive skinned figure in the middle may be French or Italian. Seated under the loggia of a substantial house, the group of revellers enjoy the charms of various women. They may be a gathering of foreign merchants entertained by their host whose wealth is displayed both by his house and by a conspicuous arrangement of silverware visible through an open door to the right, by which stands a Chinese lacquer table. Beyond the loggia a second classical house is visible. This suggests the exterior appearance of the well-appointed property in which the scene we are watching is set.
|Current Accession Number||BORGM 1104|
|Former Accession Number||539|
|Measurements||53.0 x 59.5 cm cm (estimate)|
|Material||oil on canvas|
|Acquisition Details||Bequeathed by F. Y. and E. W. Carling, 1941.|
|Publications||æ Jan Joseph Horemans I (1682-1752) was the first of a considerable family of painters spanning several generations. His genre paintings are characterised by a dependence on the compositions of his Dutch seventeenth-century predecessors. However, unlike his son Jan Joseph Horemans II (1714-1790), who often depicts his figures in seventeenth-century dress, the elder Horemans usually presents his figures in contemporary dress. The various stylistic identities of the many members of the Horemans family of painters still require systematic differentiation. However, the style of Peter Jacob Horemans (1700-1776), who became court painter to the Elector Charles of Bavaria, the future Holy Roman Emperor Charles VII in 1727, can be differentiated from that of his elder brother and teacher, Jan Joseph Horemans I. Peter Jacob treats genre subjects in a similar fashion to his elder brother, but his pictures are characterised by a cruder technique and his application of a rigorous architectural framework as a framing device.|
|Rights Owner||Russell-Cotes Art Gallery and Museum, Bournemouth|