European Baroque, Rembrandt and Italian popular scenes · 1624 -1687

A Dane trained in Rembrandt's workshop then based in Rome, Bernhard Keil gives artisans, sellers and workers a warm monumentality based on light and material.

Bernhard Keil, born Eberhard Keilhau in Helsingør in 1624, died in Rome in 1687. Son of a German painter active at the Danish court, he received initial training in Copenhagen before moving to Amsterdam. He worked for several years in Rembrandt's environment, from which he retained the chiaroscuro, the density of faces and the expressive use of a charged touch. In 1651, he left for Italy and settled in Rome in 1656. Known under the name Monsù Bernardo, he became one of the first Danish painters to acquire a truly international reputation. In 1651, he left for Italy and settled in Rome in 1656. Known under the name Monsù Bernardo, he became one of the first Danish painters to acquire a truly international reputation. Known under the name Monsù Bernardo, he became one of the first Danish painters to acquire a truly international reputation. In 1651, he left for Italy and settled in Rome in 1656. Known under the name Monsù Bernardo, he became one of the first Danish painters to acquire a truly international reputation. Known under the name Monsù Bernardo, he became one of the first Danish painters to acquire a truly international reputation. In 1 lacemakers, musicians and characters captured in their work. These scenes are not simple picturesque inventories. Directed light isolates the face, hands and objects, giving ordinary activities an almost sacred gravity. The Lacemaker in this collection condenses this approach. The meticulous work of the thread is rendered by the position of the hands, the concentrated gaze and the contrast between skin, fabric and dark background. Keil combines Nordic observation and Italian taste for monumental figures. Keil combines Nordic observation and Italian taste for monumental figures. His earthy palette is warmed by the reds, ochres and luminous whites. His earthy palette is warmed with bright reds, ochres and whites. Keil combines Nordic observation and Italian taste for monumental figures. His earthy palette is warmed with bright reds, ochres and whites. His earthy palette is warmed with luminous reds, ochres and whites. His earthy palette is warmed with luminous reds, ochres and whites. His earthy palette is warmed with luminous reds, ochres and whites. A faithful reproduction must retain the transparent blacks, the material of the fabrics and the lighting which links manual work and human presence. The "Bernhard Keil" selection notably compares La Dentellière - Bernhard Keil. His reading favors the story.

Keil makes the daily gesture an event of light: the hands work, the face concentrates and the popular scene takes on monumental dignity.