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#0047
4. Jacques van der
Wyhen, landscape
with an Allee,
Rim, and Castle
on the Wałer,
Muzeum Narodowe,
Warsów
(Phot. Teresa
Żółtowska-Huszcza)
and the hill with the castle replaces here the earlier lacy meandering rivers,
numerous ports and tiny human settlements, spread between fields and
yineyards, depicted minutely even in the highest regions of distant mountains.
Furthermore, the mythological, heroic or Biblical scenes which once formed
a natural completion of those rich landscape compositions with a great degree
of elegance and artificiality here give way to bucolic themes, morę appropriate
to landscapes, which bear morę clearly expressed features of realism. Yet
their realism was not genuine, sińce the landscape after all was created in
a workshop: constructed - like a puzzle - of individual component parts,
previously noted by the painter from naturę.
This pattern of the Robert Finek landscape reappears in an astonishing way
in the painting from the National Museum in Warsaw (ill. 4), whose attribution
has likewise recently changed.8 The research was difficult in spite of the fact
that the Landscape with an Allee, Rwer, and Castle on the Water has, in the
bottom right corner, a signature with the barely legible datę 163..., with the
last digit worn off. The signature was erroneously interpreted and associated
with Anthon Mirou and although the stylistic features hardly justified such an
8 Jacąues van der Wyhen, Landscape with Allee, River, and Castle on the Water, oil on canvas,
93.5 x 188 cm; signed in the bottom right corner of the composition, at the edge of the road near
the vegetation: J. Weyen Fecit 163...: inv. no. M. Ob. 818; originated from the collection of Ludwik
Michai Pac (1780-1835), Warsaw; later in the collection of Leon Sapieha (1803-1878) in Paris;
collection of Jakub Potocki (1863-1934), Paris-Helenów, bequeathed in 1934 together with
numerous other works from this collection to the National Museum in Warsaw, where it arrived
in 1946; published in Białostocki, Krajobrazy..., op. cit., no. 8 (as the work of Anthon Mirou) as
well as in the Catalogue of Paintings..., op. cit. I, no. 804 (as Mirou?).
41
Wyhen, landscape
with an Allee,
Rim, and Castle
on the Wałer,
Muzeum Narodowe,
Warsów
(Phot. Teresa
Żółtowska-Huszcza)
and the hill with the castle replaces here the earlier lacy meandering rivers,
numerous ports and tiny human settlements, spread between fields and
yineyards, depicted minutely even in the highest regions of distant mountains.
Furthermore, the mythological, heroic or Biblical scenes which once formed
a natural completion of those rich landscape compositions with a great degree
of elegance and artificiality here give way to bucolic themes, morę appropriate
to landscapes, which bear morę clearly expressed features of realism. Yet
their realism was not genuine, sińce the landscape after all was created in
a workshop: constructed - like a puzzle - of individual component parts,
previously noted by the painter from naturę.
This pattern of the Robert Finek landscape reappears in an astonishing way
in the painting from the National Museum in Warsaw (ill. 4), whose attribution
has likewise recently changed.8 The research was difficult in spite of the fact
that the Landscape with an Allee, Rwer, and Castle on the Water has, in the
bottom right corner, a signature with the barely legible datę 163..., with the
last digit worn off. The signature was erroneously interpreted and associated
with Anthon Mirou and although the stylistic features hardly justified such an
8 Jacąues van der Wyhen, Landscape with Allee, River, and Castle on the Water, oil on canvas,
93.5 x 188 cm; signed in the bottom right corner of the composition, at the edge of the road near
the vegetation: J. Weyen Fecit 163...: inv. no. M. Ob. 818; originated from the collection of Ludwik
Michai Pac (1780-1835), Warsaw; later in the collection of Leon Sapieha (1803-1878) in Paris;
collection of Jakub Potocki (1863-1934), Paris-Helenów, bequeathed in 1934 together with
numerous other works from this collection to the National Museum in Warsaw, where it arrived
in 1946; published in Białostocki, Krajobrazy..., op. cit., no. 8 (as the work of Anthon Mirou) as
well as in the Catalogue of Paintings..., op. cit. I, no. 804 (as Mirou?).
41