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#0052
aesthetic revision - revision by the spirit - sińce the painting thus created was
supposed to reflect to sonie degree the sublimated essence - or at least a part,
of the very soul of naturę; while in landscapes of the countryside, from which
views of dunes developed at a later datę, the basis of depiction was the
re-creation from naturę and organisation of the parts in such a way as would
reveal the natural relationship between man and naturę. Both concepts derived
from the experience of naturę; the first preferring nevertheless the idealistic
image of naturę, the second going in a morę realistic direction. The category
uit den geest, although chiefly promoted by van Mander, did not exclude,
however, a second current of landscape art created naer bet leven. Their
peaceful coexistence on the stage of Netherlandish art of the 17th century can
be testified perhaps with the next example from the collections of the National
Museum in Warsaw, which turns out to be the work of another disciple of
Coninxloo.
While Landscape with Castle and Allee for many years had an “adopted”
author in the person of Anton Mirou, Landscape with Tranellers on a Roadlh
(ill. 8) possessed nonę whatsoever. In the catalogue of the exhibition The Birth
of the Modern Landscape it was described by Andrzej Chudzikowski as the
work of a Flemish-Dutch painter from the first ąuarter of the 17th century.
8. Willem van den
Bundel, Landscape
with Travellers
on a Road,
Muzeum Narodowe,
Warsaw
(Phot. Teresa
Żółtowska-Huszcza)
16 Willem van den Bundel, Landscape with Trauellers on a Road, oil on canvas, 104 x 147 cm;
inv. no. M.Ob. 1828; provenance unknown. It arrived at the National Museum in Warsaw from
the storeroom in Narożno in 1948, together with other items recovered from the Silesian
territories; published in Białostocki “Narodziny...”, op. cit., no. 120.
46
supposed to reflect to sonie degree the sublimated essence - or at least a part,
of the very soul of naturę; while in landscapes of the countryside, from which
views of dunes developed at a later datę, the basis of depiction was the
re-creation from naturę and organisation of the parts in such a way as would
reveal the natural relationship between man and naturę. Both concepts derived
from the experience of naturę; the first preferring nevertheless the idealistic
image of naturę, the second going in a morę realistic direction. The category
uit den geest, although chiefly promoted by van Mander, did not exclude,
however, a second current of landscape art created naer bet leven. Their
peaceful coexistence on the stage of Netherlandish art of the 17th century can
be testified perhaps with the next example from the collections of the National
Museum in Warsaw, which turns out to be the work of another disciple of
Coninxloo.
While Landscape with Castle and Allee for many years had an “adopted”
author in the person of Anton Mirou, Landscape with Tranellers on a Roadlh
(ill. 8) possessed nonę whatsoever. In the catalogue of the exhibition The Birth
of the Modern Landscape it was described by Andrzej Chudzikowski as the
work of a Flemish-Dutch painter from the first ąuarter of the 17th century.
8. Willem van den
Bundel, Landscape
with Travellers
on a Road,
Muzeum Narodowe,
Warsaw
(Phot. Teresa
Żółtowska-Huszcza)
16 Willem van den Bundel, Landscape with Trauellers on a Road, oil on canvas, 104 x 147 cm;
inv. no. M.Ob. 1828; provenance unknown. It arrived at the National Museum in Warsaw from
the storeroom in Narożno in 1948, together with other items recovered from the Silesian
territories; published in Białostocki “Narodziny...”, op. cit., no. 120.
46