Tátrai Vilmos szerk.: A Szépművészeti Múzeum közleményei 90-91.(Budapest, 1999)
NÉMETH, ISTVÁN: Musical Company
84. Anthonie Palamedesz: Musical Company. Budapest, Museum of Fine Arts left stands a man in an elegant dark outfit, with his back to the viewer; to the right we see a seated woman with a wineglass in her hand, also with her back turned to us. She, too, sports a feathered hat. From the background, a man with a moustache bends toward the lute-playing woman, while on the right, the man seated on the far side of the table laden with valuable dishes looks smiling out of the picture. The sixth member of the party is a rather insignificant figure, difficult to identify, but judging from the garments, it is probably a woman. A few pieces of furniture occupy the background; there is a map on the wall, and on the left a dark curtain, drawn aside, completes the composition. Although the theme of musical gatherings was no doubt very popular among both Flemish and Dutch genre painters of the 17 th century, 24 the closest stylistic analogies to the painting under consideration here are found mostly among the latter. It is no accident that Horst Gerson, as early as 1970, not long after the painting's acquisition by the Museum of Fine Arts, attributed The Musical Company to a Dutch painter, more 24 In connection with this theme, sec among others: Fischer, P. J., Music in Paintings of the Low Countries in the 16th and 17th Centuries, Amsterdam 1975; Leppcrt, R. D., The Theme of Music in Flemish Painting of the Seventeenth Century, 1-2. Munich - Salzburg 1977; or more recently: Weber, G. J. M., Zusammenklang von Tönen, Farben und Herzen: Thema und Variationen niederländischen Musikikonographie, Kunsthistorisches Jahrbuch Graz 25 (1993) 137-152; Kyrova, M.. Music in Seventeenth-Century Dutch Painting in The Hoogsteder Exhibition of Music and Painting in the Golden Age, Den Haag (Hoogsteder and Hoogsteder) - Antwerp (Hessenhuis Museum) 1994, 31-62.
