Neeffs d.J., Peeter Antwerpen vor 1620 - nach 1675 Im Inneren der Liebfrauenkirche in Antwerpen. Öl auf Holz. Parkettiert. 49 x 64cm. Signiert und datiert rechts auf dem Pfeiler: Peter / Neeffs / 1650. Rahmen. Provenienz: Unternehmenssammlung Deutschland. Katalogtext Peeter Neefs Erläuterungen zum Katalog Peeter Neeffs d.J. Originale Interieur Malerei Kirche Neeffs d.J., Peeter (Antwerp before 1620 - after 1675) Inside the Cathedral of Our Lady in Antwerp. Oil on wood. Parquetted. 49 x 64cm. Signed and dated on the right on the coloumn: Peter / Neeffs / 1650. Framed. Neefs mainly focusses on three construction types of Gothic churches with multiple aisles, that he reassembled again and again in similar or slightly varied forms. Thus the seven aisle interior of the Antwerp Cathedral of Our Lady is used as a model most often. The depictions of the interior is always based on a perfect construction of central perspective. The priority is to visualise the geometry and the architectonical rhythm of the building in the interior. By repeating the static structure of the building in the form of consecutive bays, as well as the depiction of the groin and wall system Neefs developed his unquie dynamic. Apart from the architectural demand, the painter's focus in his paintings is on the light, with the paintings always distinguishing themselves by a contrast rich representations of light and dark. From time to time the interior is lit by torches and candles. As a painter of architecture many of his works are animated by figures by the younger Frans Francken, Jan Breughel, and the older David Teniers. These figural staffages first of all serve the illustration of spatial proportions and distances. Our painting allows for a fascinating view into the interior of the Antwerp Cathedral of Our Lady from a slightly elevated viewpoint, from which the nave unfolds in its full dimension. While the giant, seven aisle building is depicted relatively realistically with all its architectural details, the decortaive Renaissance altar panels are made up. Next to the richness of detail, the painting impresses with its skilful use of shadows in the front part that are leading the view through the light-flooded church interior to the chancel screen. Explanations to the Catalogue Peeter Neeffs d.J. Old Masters Interior Painting Church