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#0055
10. Willem van den
Bundel, Country Road
with Travellers, oil on
panel, 71 x 115 cm,
private collection
(Phot. RKD Archives,
The Hague)
Willem van den Bundel turns out to have been an interesting artist who
developed dynamically, searching for new Solutions and who in the 1630s
had already elaborated a new seemingly realistic type of landscape.
Comparing van der Wyhen’s Landscape with Castle and Allee with van den
BundeBs Landscape with Trauellers on a Road, two works painted morę or
less at the same time by two fellow disciples of the same master - we must
assert that the latter represents a morę advanced language of stylistic forms.
Might we here be witnessing the supersession of the sublime but already
certainly old-fashioned category uit den geest by the morę modern formula
naer het leven ?
The newly discovered aspects of old paintings introduced here make but
a smali contribution to the ąuestion of early Dutch landscape of Flemish
provenance. Three newly attributed works which are linked in an interesting
triangle of master-student dependency, show that Coninxloo’s disciples, Jacąues
van der Wyhen and Willem van den Bundel, although following basically the
model elaborated by their master, while maintaining a number of common
characteristic features, chose however two disparate creative paths. The first
one represented the uit den geest - a noble and sublime romantic convention
propagated by van Mander, whereas the other revealed a morę realistic
tendency in painting seemingly naer het leven, recreating the illusion of naturę
that was soon to serve as the grounds for the development of proper Dutch
landscape painting of the countryside and dunes. Thus both of them exemplify
two distinct directions in landscape painting which emerged in the 1620s -
a romantic convention and a realistic one.
Translated by Robert Kirkland
Bundel, Country Road
with Travellers, oil on
panel, 71 x 115 cm,
private collection
(Phot. RKD Archives,
The Hague)
Willem van den Bundel turns out to have been an interesting artist who
developed dynamically, searching for new Solutions and who in the 1630s
had already elaborated a new seemingly realistic type of landscape.
Comparing van der Wyhen’s Landscape with Castle and Allee with van den
BundeBs Landscape with Trauellers on a Road, two works painted morę or
less at the same time by two fellow disciples of the same master - we must
assert that the latter represents a morę advanced language of stylistic forms.
Might we here be witnessing the supersession of the sublime but already
certainly old-fashioned category uit den geest by the morę modern formula
naer het leven ?
The newly discovered aspects of old paintings introduced here make but
a smali contribution to the ąuestion of early Dutch landscape of Flemish
provenance. Three newly attributed works which are linked in an interesting
triangle of master-student dependency, show that Coninxloo’s disciples, Jacąues
van der Wyhen and Willem van den Bundel, although following basically the
model elaborated by their master, while maintaining a number of common
characteristic features, chose however two disparate creative paths. The first
one represented the uit den geest - a noble and sublime romantic convention
propagated by van Mander, whereas the other revealed a morę realistic
tendency in painting seemingly naer het leven, recreating the illusion of naturę
that was soon to serve as the grounds for the development of proper Dutch
landscape painting of the countryside and dunes. Thus both of them exemplify
two distinct directions in landscape painting which emerged in the 1620s -
a romantic convention and a realistic one.
Translated by Robert Kirkland