Bernhard Keil, called Monsù Bernardo (1624-1687), An Allegory of Taste; An Allegory of Sight; An Allegory of Hearing; and An Allegory of Sight, 4 piece tondi set, on panel, 33.8cm diameter, Bonham’s, London, Old Master Paintings, 3 July 2024
Baroque painter Bernhard Keil, also known as Monsù Bernardo, remains relatively unknown outside Denmark and Italy. His largely forgotten artistic legacy was only rediscovered in the 20th century, thanks to the dedicated efforts of Italian and Danish art historians who painstakingly reconstructed his oeuvre.
Keil’s paintings were long mistakenly attributed to 18th-century Lombardian artists. However, closer examination revealed their much earlier origins. His allegorical and genre compositions, often depicting ordinary people on the streets of Rome—such as the elderly and children in humble settings—exhibit a raw realism and social critique, frequently infused with hidden meanings and allegories.
Trained in Copenhagen and later in Rembrandt’s studio in Amsterdam, Keil relocated to Rome in 1651. This move radically transformed his style as he shifted from Rembrandt’s influence to an Italian aesthetic. However, he retained from Rembrandt’s school a commitment to humanism, truth, and sincere empathy towards his subjects. His compositions of ordinary city dwellers in distressed clothing with sparkling eyes, often imbued with a mysterious allure, reveal much more.
This series of paintings representing the five senses exemplifies his keen absorption of the Roman art scene. His depictions of ordinary people consistently emphasise human dignity and avoid caricature.
Keil’s ability to capture the essence of ordinary life aligns more with 18th-century Lombardian art or 19th-century French Realism. Like Michael Sweerts, a 17th-century Brussels artist also active in Rome, Keil successfully navigated these realms with less contemporary recognition.
