Haina 1722 - 1789 Kassel, Attributed
Backgammon game
2nd half of 18th century
Oil on canvas, relined
91 x 105 cm, with frame 109 x 122 cm
The scene depicted here shows a group of three, a woman and two men, playing a very old board game that has numerous names: it probably originated in Persia in the 2nd millennium BCE and was also known to the Greeks and Romans. Today, in Europe, it is known as backgammon (from the English-speaking world) or trictrac (France), among other names. It first appeared in Italy around 1500; in the 18th century it was extremely popular in aristocratic circles. The game combines chance with strategy: you follow the numbers on two dice to bring your pieces to the goal, but at the same time you want to prevent your opponent from doing the same.
The two seated figures look up at the standing man, who is holding a cap behind his back and a staff in his hand. He is also carrying an elaborately decorated bag slung around his shoulders. The centrally positioned woman is holding a dice cup, which could indicate that it is her turn. However, she turns away from the board and her counterpart, and looks back over her shoulder at the standing man. Possibly he is giving her a hint as to which pieces she should move? The man on the right half of the painting is already holding an oversized token in his hand and is looking expectantly at the second man. Interestingly, there are no other game pieces to be seen, suggesting that the game is nearing its end.
This depiction is derived from game scenes in engravings or paintings; a possible model would be Jan van Bijlert's (1597/8-1671) "Joueurs de trictrac" (Musée de la loterie, Brussels). However, the painting presented here is of softer modelling and finer execution, especially in the textile details. Overall, the painting shows French inspiration, but was probably painted in Germany. It is possible that it was Johann Heinrich Tischbein the Elder, one of the most important painters of the 18th century, who created this work. He studied in Paris and also travelled to Italy. Later he acted as court painter for two landgraves and founded the Kassel Art Academy. Tischbein often painted courtly, elegant portraits, and this one could also fall into that category. The painter used Caravaggio's chiaroscuro technique here, which was particularly popular in Italy but also in France. However, there is no exact dramatic light source; the three people stand out clearly against the dark interior, with the coloured robes appearing to be glowing as a result. However, the lady's skin is much lighter than that of the male figures, possibly suggesting an erotic component. Could one of the men be the patron who has himself depicted with his beloved and a rival in order to impress his mistress and win her over? Or could the lady have commissioned the painting to proudly present and juxtapose her two suitors?
Bibliography:
Tristan Donovan, It's all a game. The history of board games from Monopoly to Settlers of Catan, New York 2017, pp. 13-16.
Karin Schrader, Tischbein Johann Heinrich the Elder. In: New German Biography (NDB). Vol. 26, Berlin 2016, pp. 300-302.
