Title

Flower Garland with Tobias and the Angel

Author

Thielen, Jan Philip van

Mechelen, 1618 - Boosichot, 1667

Typology

School

Century

Dimensions

Technique

Support

Inscriptions

Signed: "I.P. van Thielen F." (bottom left corner)

Observations

This Flower Garland with Tobias and the Angel by Jan Philip van Thielen, painted during the second third of the 17th century, is a remarkable example of Flemish painting. Preserved in the Santamarca collection in Madrid, this oil on canvas (53.5 x 39 cm), signed by the artist in the lower left corner, showcases the technical and symbolic excellence of this artistic genre.

The central scene depicts a biblical episode from the Book of Tobit (6:1–4). Tobias, following the instructions of the Archangel Raphael, catches a fish in the Tigris River, whose entrails will be used to cure his father’s blindness. This narrative, associating the fish with the image of Christ and salvific light, aligns with the themes of the Counter-Reformation, emphasizing the spiritual significance of the message. The scene is simple yet expressive: Tobias holds the fish in his right hand while attentively listening to the Angel, creating an interaction imbued with serenity.

The floral garland framing this scene demonstrates van Thielen’s exceptional talent for the meticulous depiction of nature. Each flower, rendered with remarkable precision, evokes varieties from different seasons. The density and symmetry of the composition give it a sumptuous yet slightly archaic quality, contrasting with the more fluid style of his master, Daniel Seghers. The lemon branches and fruits adorning the lower section add a personal and rare touch to this garland. While van Thielen remains faithful to Seghers’ legacy, particularly in the arrangement of the flowers, he departs from his master by employing a sharply defined oval medallion, a choice reminiscent of compositions by the previous generation, especially Jan Brueghel the Elder.

The looser and more sketch-like execution of the central scene suggests it might have been painted by a collaborator, a common practice of the time. Although van Thielen occasionally worked with Erasmus Quellinus, it is unlikely that Quellinus was involved here. The coexistence of a meticulously detailed garland with a freer biblical scene reflects a stylistic duality typical of this type of work.

This painting, accompanied by a counterpart depicting Saint Rosalia, illustrates the influence of Flemish painting on other European schools, particularly in Spain, where artists such as Juan de Arellano and Bartolomé Pérez drew inspiration from.

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. 254-257, il. 96.
• (1984): Colección Santamarca: pinturas restauradas en 1983, Fundación Banco Exterior, Madrid, pp. 38-39, il. 13.

Locations

• Colección Santamarca, Madrid (Spain) (Inventory number: 41)