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#0045
regarded with scepticism as the work of an imitator, but nevertheless it
possesses very close links with certain works of Coninxloo; the painting in the
collection of the Princes of Liechtenstein in Vaduz6 * presents exactly the same
style and a comparable repertoire of motifs. The painting seemingly portrays
the same wooded fragment, but captured from another point of view; the little
bridge is closer and on the right hand side. The illusion of depth is achieved
through analogous means - a brightly illuminated clearing focuses attention
immediately to the middle ground, while the stream leads in a zigzag to the
depths of a thick woods. The viewing tunnel in the work in Vaduz occupies
a position at the side of the composition, while a group of thickly overgrown
trees makes the side wing opposite; the composition is closer in its pattern
to the earlier landscapes. The datę 1598 indicates it was created during
Coninxloo’s early work in Amsterdam.
An even closer relation can be seen in a landscape from the Kunsthistorisches
Museum in Vienna (ill. 2). Here as in the Warsaw landscape the viewing tunnel
runs to the centre of the composition, which is enclosed in the foreground by
two trees - a shaded on the left side and a brightly illuminated one on the
right. The patch of sky yisible between the tops of the trees is in both cases
still smaller than in the painting in the Liechtenstein collection; these are truły
deep forest interiors. Nonę of the landscapes under comparison has however
such a finely constructed composition around the central form of a circle as
that which we analysed in the landscape from the Raczyński collection in
2. Gillis van Coninxloo,
Forest Landscape,
Kunsthistorisches
Museum, Vienna
(Phot. Kunsthistorisches
Museum, Vienna)
6 Discussed at greater length in the exhibition catalogue Von Breugel bis Rnbens, Wallraf-Richartz
-Museum, Cologne; Koninklijk Museum voor Schone Kunsten, Antwerp; Kunsthistorisches
Museum, Yienna, 1992; no. 24.1, col. piąte 1, p. 192.
39
possesses very close links with certain works of Coninxloo; the painting in the
collection of the Princes of Liechtenstein in Vaduz6 * presents exactly the same
style and a comparable repertoire of motifs. The painting seemingly portrays
the same wooded fragment, but captured from another point of view; the little
bridge is closer and on the right hand side. The illusion of depth is achieved
through analogous means - a brightly illuminated clearing focuses attention
immediately to the middle ground, while the stream leads in a zigzag to the
depths of a thick woods. The viewing tunnel in the work in Vaduz occupies
a position at the side of the composition, while a group of thickly overgrown
trees makes the side wing opposite; the composition is closer in its pattern
to the earlier landscapes. The datę 1598 indicates it was created during
Coninxloo’s early work in Amsterdam.
An even closer relation can be seen in a landscape from the Kunsthistorisches
Museum in Vienna (ill. 2). Here as in the Warsaw landscape the viewing tunnel
runs to the centre of the composition, which is enclosed in the foreground by
two trees - a shaded on the left side and a brightly illuminated one on the
right. The patch of sky yisible between the tops of the trees is in both cases
still smaller than in the painting in the Liechtenstein collection; these are truły
deep forest interiors. Nonę of the landscapes under comparison has however
such a finely constructed composition around the central form of a circle as
that which we analysed in the landscape from the Raczyński collection in
2. Gillis van Coninxloo,
Forest Landscape,
Kunsthistorisches
Museum, Vienna
(Phot. Kunsthistorisches
Museum, Vienna)
6 Discussed at greater length in the exhibition catalogue Von Breugel bis Rnbens, Wallraf-Richartz
-Museum, Cologne; Koninklijk Museum voor Schone Kunsten, Antwerp; Kunsthistorisches
Museum, Yienna, 1992; no. 24.1, col. piąte 1, p. 192.
39