1 / 6

Description

Flemish school; 17th century. "Landscape". Oil on canvas. Relined. Presents restorations. Measurements: 48 x 29 cm; 59 x 39 cm (frame). Landscape scene that has a chromatic range, based on ocher tones that provide a great vitalism. The work presents several characters in the foreground, but due to the reduced dimensions of these the protagonism of the scene falls on the landscape. In the Baroque period, the representation of landscapes without resorting to the costumbrista theme was rare, since landscape painting as a genre was not fully established until the nineteenth century. In the West, landscape did not appear as a completely independent genre in art until, practically, the 17th century and thanks to Dutch painting (especially Jacob van Ruysdael). It was treated as a mere backdrop in the Middle Ages, until the Renaissance began to show interest in it. The great production of the time is striking, whose recipients were the increasingly wealthy urban bourgeoisie, an abundance of works to which goes hand in hand with the proliferation of pictorial genres. One of them was the landscape, which acquired a great development since the seventeenth century, a time until which it had not appeared as an independent theme, without needing the presence of an anecdote to exist. Like other genres that acquired great popularity during the 17th century in Flanders, landscape painting has its roots in the Dutch pictorial tradition of the 15th century. The background landscapes of the religious works of Van Eyck, de Bouts or van der Goes occupy a much more important place in them as an artistic element than that occupied by the landscape in Italian painting of the same period. As far as the representation of the narrative is concerned, the landscape of the Flemish primitives plays an essential role, not only as the natural environment of the characters but also to separate and set the various episodes of the story narrated in the work. As for the imitation of nature, the Flemish painters of the 15th century tried to represent in a plausible way in the landscapes of their religious paintings the fields and cities of their native country, detailing their flora with botanical precision and even giving an idea of the time of day and the season of the year in which the scene takes place. This special interest in the representation of the landscape increased as the 16th century progressed, when a new type of landscape for sacred scenes was developed and popularized: the panoramic view. Very soon, however, it was the representation of the landscape itself that was to receive the attention of painters and, of course, of the public. In the panoramic views of Joachim Patinir and his followers the roles are reversed: the religious subject is an excuse for the landscape. In these paintings the landscape becomes completely independent of any narrative, and this is the direction that the Flemish and Dutch painters of the late sixteenth and early seventeenth centuries were to follow, a time when landscape painting acquired great popularity in the Netherlands and specialists in the genre began to proliferate. Gillis van Coninxloo, Paul Bril, Jan Brueghel the Elder and Joos de Momper are the most distinguished landscape painters of the transition from the sixteenth to the seventeenth century, and each of them imprinted their vision of the landscape with a very personal stamp. It presents restorations.

99 
Go to lot
<
>

Flemish school; 17th century. "Landscape". Oil on canvas. Relined. Presents restorations. Measurements: 48 x 29 cm; 59 x 39 cm (frame). Landscape scene that has a chromatic range, based on ocher tones that provide a great vitalism. The work presents several characters in the foreground, but due to the reduced dimensions of these the protagonism of the scene falls on the landscape. In the Baroque period, the representation of landscapes without resorting to the costumbrista theme was rare, since landscape painting as a genre was not fully established until the nineteenth century. In the West, landscape did not appear as a completely independent genre in art until, practically, the 17th century and thanks to Dutch painting (especially Jacob van Ruysdael). It was treated as a mere backdrop in the Middle Ages, until the Renaissance began to show interest in it. The great production of the time is striking, whose recipients were the increasingly wealthy urban bourgeoisie, an abundance of works to which goes hand in hand with the proliferation of pictorial genres. One of them was the landscape, which acquired a great development since the seventeenth century, a time until which it had not appeared as an independent theme, without needing the presence of an anecdote to exist. Like other genres that acquired great popularity during the 17th century in Flanders, landscape painting has its roots in the Dutch pictorial tradition of the 15th century. The background landscapes of the religious works of Van Eyck, de Bouts or van der Goes occupy a much more important place in them as an artistic element than that occupied by the landscape in Italian painting of the same period. As far as the representation of the narrative is concerned, the landscape of the Flemish primitives plays an essential role, not only as the natural environment of the characters but also to separate and set the various episodes of the story narrated in the work. As for the imitation of nature, the Flemish painters of the 15th century tried to represent in a plausible way in the landscapes of their religious paintings the fields and cities of their native country, detailing their flora with botanical precision and even giving an idea of the time of day and the season of the year in which the scene takes place. This special interest in the representation of the landscape increased as the 16th century progressed, when a new type of landscape for sacred scenes was developed and popularized: the panoramic view. Very soon, however, it was the representation of the landscape itself that was to receive the attention of painters and, of course, of the public. In the panoramic views of Joachim Patinir and his followers the roles are reversed: the religious subject is an excuse for the landscape. In these paintings the landscape becomes completely independent of any narrative, and this is the direction that the Flemish and Dutch painters of the late sixteenth and early seventeenth centuries were to follow, a time when landscape painting acquired great popularity in the Netherlands and specialists in the genre began to proliferate. Gillis van Coninxloo, Paul Bril, Jan Brueghel the Elder and Joos de Momper are the most distinguished landscape painters of the transition from the sixteenth to the seventeenth century, and each of them imprinted their vision of the landscape with a very personal stamp. It presents restorations.

Estimate 2 500 - 3 000 EUR
Starting price 1 500 EUR

* Not including buyer’s premium.
Please read the conditions of sale for more information.

Sale fees: 24 %
Leave bid
Register

For sale on Wednesday 26 Jun : 12:45 (CEST)
wwwsetdartcom, pays.null
Setdart.com
+34932463241
Browse the catalogue Sales terms Sale info

Delivery to
Change delivery address
Delivery is not mandatory.
You may use the carrier of your choice.
The indicated price does not include the price of the lot or the auction house's fees.