Quentin Massys (1465/66- 1530), The Madonna of the Cherries, 1520s, Oil on oak panel, 75.3 x 62.9 cm, Christie’s Old Masters, Part I, 2 July 2024
Quentin Massys, whose name is variously spelt as Massys in French, Matsys in Dutch, and Metsys in English, is considered one of the founders of the Antwerp School and a representative of the artistic excellence of the Flemish Renaissance.
This masterpiece reveals a striking influence of Da Vinci’s style in its intimate composition and refined details. The Virgin tenderly cradles the Christ Child, who leans towards her in a dynamic pose full of lifelike movement and affection. The cherries, a symbol of paradise and Christ’s future Passion, are held delicately by the Virgin, adding layers of meaning to the work. The soft modelling of their faces, the nuanced light effects, and the serene yet deeply emotional atmosphere echo Leonardo Da Vinci’s innovations, while the rich texture and meticulous detail root it firmly in Northern Renaissance traditions.
The painting has a remarkable provenance. Once part of Cornelis van der Geest’s esteemed collection in Antwerp, it caught the attention of Archduke Albert VII and Isabella Clara Eugenia of Habsburg, as seen in Willem van Haecht’s 1628 work ‘The Gallery of Cornelis van der Geest’. Lost for centuries, it resurfaced in 1920, though obscured by overpainting. Conservation in recent years has authenticated it as Meatsys’ prime version. Other versions exist, such as in the Rijksmuseum and Suermondt-Ludwig Museum, but none match the quality of this prototype.
This pivotal work of the Flemish Renaissance, bridging Northern and Italian influences, deserves to be seen and appreciated by millions. Now, it has its chance, having joined the permanent collection of the Getty Museum in Los Angeles.
