Title

Flower Garland with Saint Rosalia

Author

Thielen, Jan Philip van [attributed to]

Mechelen, 1618 - Boosichot, 1667

Typology

School

Century

Dimensions

Technique

Support

Observations

The two garlands by Jan Philip van Thielen, preserved in the Colección Santamarca, are a magnificent example of this type of painting, characteristic of Flemish art. Van Thielen treats the garlands with the meticulousness and delicacy typical of the Flemish style, although his symmetrical and rigid arrangement of the flower groups gives it a somewhat archaic character, setting it apart from the fluidity and lightness of his master, Daniel Seghers. This meticulousness contrasts with the freer, more sketch-like character of the central scenes, which could possibly be the work of another artist, as is common in this genre. It is known that van Thielen sometimes collaborated with Erasmus Quellinus, but it seems unlikely that the scenes in these paintings are his work. On a further scale, this style of painting influenced several Madrid-based painters of the time who specialized in floral works, such as Juan de Arellano and his disciples, notably Bartolomé Pérez.

The garland dedicated to Saint Rosalia is paired with another garland traditionally depicting Tobias and the Angel. Previously interpreted as the Assumption of the Virgin, the central scene is now identified as Saint Rosalia in ecstasy towards the heavens, her right hand on her chest and her left extended in supplication. Two cherubs place a crown of roses on her head, a motif inspired by Van Dyck, whose representations of Saint Rosalia are well known. The discovery of her relics in Palermo in 1624 sparked intense devotion throughout Christendom, an event Van Dyck helped to popularize through his works. The garland thus serves as an ideal frame for the saint's celestial elevation, invoked as a protector against the plague.

The flowers and fruits in the garland, including a cluster of oranges at the center, emphasize the symmetrical aspect and contribute to a visual harmony with the garland dedicated to Tobias and the Angel, where a group of lemons is similarly arranged. This symmetry is also reflected in the arrangement of branches and flowers, where tulips, roses, and anemones blend with bellflowers and daisies. The yellow daffodils present in the lower and upper corners add a rhythmic balance to the composition. Unlike Seghers' works, these garlands by van Thielen are characterized by a more ornate structure and denser details, as well as an intertwining of plant elements that conveys a sense of joy.

The recent publication of these garlands from the Colección Santamarca is of particular interest, as they were absent from the exhaustive catalogue compiled by Marie-Louise Hairs on 17th-century Flemish flower painting. These works therefore represent an important discovery for our understanding of van Thielen’s work, a faithful disciple of Seghers yet endowed with a unique originality.

Bibliography

• M. Díaz Padrón (2018): "Dos guirnaldas de Jan Philip van Thielen en la Fundación Santamarca", Tendencias del mercado del arte, nº 114, pp. 90-91.
• W. Rincón García, e.a. (2017): Colección Santamarca : Esplendor barroco de Luca Giordano a Goya y la pintura romántica, Diputación Provincial de Zaragoza, Zaragoza, pp. 258-259, il. 97.
• (1984): Colección Santamarca: pinturas restauradas en 1983, Fundación Banco Exterior, Madrid, pp. 38-39, il. 14.

Locations

• Colección Santamarca, Madrid (Spain) (Inventory number: 42)