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pre view. 02 3 Matthias Stomer’s paintings are characterised by his sophisticated use of light, and realistic and expressive compositions. Stomer belongs to the circle of artists now known as ‘Caravaggisti’ who were strongly influ- enced by the works of Caravaggio. The chiaroscuro works of Caravaggio, bathed in dramatic light, funda- mentally changed European art in the 17 th century and profoundly influenced future generations of artists. A large number of painters travelled to Rome to study Caravaggio’s works and adapt them for their own cre- ations. Utrecht, where Stomer presumably received his training, was home to an important group of Car- avaggisti, whose embrace of the Italian artist’s style would find an echo in the works of Frans Hals, Rem- brandt and Vermeer. Matthias Stomer depicts the supper at Emmaus near Jerusalem, one of the most important themes in Cath- olic Counter-Reformation painting. The Council of Trent, which took place between 1545 and 1562, de- fined Catholic religious doctrine and affirmed the real presence of Christ in the Eucharist. Stomer’s subject is closely based on the Gospel of Luke, which relates how two disciples encounter Christ on the road to Emmaus but do not recognise him at first. During the meal, Jesus breaks the bread and distributes it. Only then do the disciples realise that they are sitting with the risen Christ. Stomer vividly captures this moment of surprise. The artist not only makes brilliant use of the focussed Caravaggesque light which casts dra- matic shadows, but also renders the emotions of the moment accessible to the viewer through the charac- ters’ emphatic gestures and expressions. Stomer was very familiar with Caravaggio’s art and painting technique, but at the same time he was also 1 Matthias Stomer (circa 1600–after 1650). The supper at Emmaus. Circa 1640. Oil on canvas. 126 × 229 cm. Estimate: CHF 300 000/500 000 For further information Old Master Paintings Karoline Weser weser@kollerauctions.com Online Catalogues www.kollerauctions.com 1 Supper with the risen Christ Preview of the OldMaster Paintings auction on 20 September 2024 aware of the iconography of Peter Paul Rubens. The figure of the servant in the background, the heavy cloak hanging over the shoulders of the disciple seat- ed on the left, and the ornate hairstyle of the disciple on the other side of the table are all adopted from Rubens’ depiction of the Supper at Emmaus from 1611. Recent art-historical research dates the present work to circa 1640 and thus to Stomer’s Sicilian creative phase. Between 1640 and 1643, the artist received more generous patronage in Sicily than ever before. Typical of the monumental works of these years are the harmonious distribution of the figures within the composition and the broad colour palette, enlivened by the impasto highlighting of faces and hands. This monumental painting combines grandiose concep- tion with masterly painterly execution.