DOI Artikel:
Benesz, Hanna: Gillis van Coninxloo and his Disciples: three recently attributed landscapes from the National Museum in Warsaw
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.18947#0044
idiom of the forms worked out by their master. It was there as well, that under
the influence of the Venetian masters and the Flemish artists working in Italy,
especially Paolo Fiammingo, the artist, now morę than 50 years old, changed
his previous scheme of landscape composition and created a new type of
wooded landscape. He died in Amsterdam in 1606.
1. Gillis van Coninxloo,
Forest Interior,
Muzeum Narodowe,
Warsaw
(Phot. Teresa
Żółtowska-Huszcza)
The Warsaw painting recently attributed to ConinxlooJ (ill. 1) was created
exactly in that late period and displays the very advanced type of landscape
composition with a fragment of forest viewed from up close. The viewer is
pulled directly into the thickness of the forest interior and his gazę is lead into
the depths of the naturę presented along the hne of a narrow stream. This linę
assumes here the role of a distant panorama, while the supposed horizon is
already much lower. The trunks of centuries-old oaks growing up out of sandy
mounds, and their picturesąue contorted branches create in the foreground
the shape of a complete circle, which is repeated in the middle ground, where
the spherical form is emphasised at the base with the clearly illuminated
fragment of the forest floor. Thus drawn into the depths until the motif of the
little bridge, the viewer has the impression that he is in a green, brown, and
gold tunnel with a perfectly circular cross-section. This painting was long
J Gillis van Coninxloo, Forest Interior, oil on wood, 55 x 86.5 cm; inv. no. 181831; originally
from the Raczyński Collection in Warsaw, deposited in 1939 in the National Museum in Warsaw,
previously published in Białostockie Krajobrazy flamandzkie epoki manieryzmu, catalogue of the
collections of the National Museum in Warsaw, Warsaw 1951, no. 30 (as an unknown Flemish
painter from the turn of the 16th and 17th centuries) as well as in the catalogue of the collection,
Catalogue of Paintings, Foreign Schools, National Museum in Warsaw, ed. by A. Chudzikowski, II,
Warsaw 1969-1970, no. 1530 (as a Flemish master of the 16th-17th century).
38
the influence of the Venetian masters and the Flemish artists working in Italy,
especially Paolo Fiammingo, the artist, now morę than 50 years old, changed
his previous scheme of landscape composition and created a new type of
wooded landscape. He died in Amsterdam in 1606.
1. Gillis van Coninxloo,
Forest Interior,
Muzeum Narodowe,
Warsaw
(Phot. Teresa
Żółtowska-Huszcza)
The Warsaw painting recently attributed to ConinxlooJ (ill. 1) was created
exactly in that late period and displays the very advanced type of landscape
composition with a fragment of forest viewed from up close. The viewer is
pulled directly into the thickness of the forest interior and his gazę is lead into
the depths of the naturę presented along the hne of a narrow stream. This linę
assumes here the role of a distant panorama, while the supposed horizon is
already much lower. The trunks of centuries-old oaks growing up out of sandy
mounds, and their picturesąue contorted branches create in the foreground
the shape of a complete circle, which is repeated in the middle ground, where
the spherical form is emphasised at the base with the clearly illuminated
fragment of the forest floor. Thus drawn into the depths until the motif of the
little bridge, the viewer has the impression that he is in a green, brown, and
gold tunnel with a perfectly circular cross-section. This painting was long
J Gillis van Coninxloo, Forest Interior, oil on wood, 55 x 86.5 cm; inv. no. 181831; originally
from the Raczyński Collection in Warsaw, deposited in 1939 in the National Museum in Warsaw,
previously published in Białostockie Krajobrazy flamandzkie epoki manieryzmu, catalogue of the
collections of the National Museum in Warsaw, Warsaw 1951, no. 30 (as an unknown Flemish
painter from the turn of the 16th and 17th centuries) as well as in the catalogue of the collection,
Catalogue of Paintings, Foreign Schools, National Museum in Warsaw, ed. by A. Chudzikowski, II,
Warsaw 1969-1970, no. 1530 (as a Flemish master of the 16th-17th century).
38