DOI Artikel:
Tomalak, Mirosław: Two Unknown Paintings by Lodewijk Toeput and Joos de Momper the Younger
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.72800#0141
Mirosław pupil.8 The detailed rendering of plump figures in the foreground, landscape,
Tomalak and architecture in the background, as well as a highly nuanced use of wash
differ considerably from Toeput's quick, more sketchy manner.
Fig. 5. Joos de Momper, The carnival scene, 1583? or later, drawing, Fitzwilliam Museum
Cambridge, repr. public domain
The drawing from the Fitzwilliam Museum yet is very similar to the Winter
from the Warsaw private collection. Not only is the subject of the two works the
same, but their compositional scheme is also very close to each other. The only
major difference is the lack of the figure of Janus in the drawing from the Fitz-
william Collection. In both cases the composition is divided into two parts.
On the right an extensive river landscape stretches; it is flat and peopled in the
work from Warsaw, while emptier, closed with the view of mountains in the
one from Cambridge. Moreover, in the latter a building on the very right side
in the foreground was added. On the left ancient ruins frame a view of a contem-
porary city, where in a wide street some kind of a bull running is taking place.
Both works combine the depiction of carnival merrymaking with labours carried
out in winter, although in the Cambridge drawing the carnival scene is exposed,
while in the Warsaw painting it remains just an equal part of the staffage.
The drawing from the Fitzwilliam Museum and even more the confusion
over its authorship confirm the artistic cooperation of Toeput and Momper or,
rather, the latter's apprenticeship at the studio in Treviso. In both paintings from
8 Gerszi also argued that the drawing from the Fitzwilliam Museum is probably the earliest
known drawing by Joos de Momper. Ibidem, pp. 179-180.
140
Tomalak and architecture in the background, as well as a highly nuanced use of wash
differ considerably from Toeput's quick, more sketchy manner.
Fig. 5. Joos de Momper, The carnival scene, 1583? or later, drawing, Fitzwilliam Museum
Cambridge, repr. public domain
The drawing from the Fitzwilliam Museum yet is very similar to the Winter
from the Warsaw private collection. Not only is the subject of the two works the
same, but their compositional scheme is also very close to each other. The only
major difference is the lack of the figure of Janus in the drawing from the Fitz-
william Collection. In both cases the composition is divided into two parts.
On the right an extensive river landscape stretches; it is flat and peopled in the
work from Warsaw, while emptier, closed with the view of mountains in the
one from Cambridge. Moreover, in the latter a building on the very right side
in the foreground was added. On the left ancient ruins frame a view of a contem-
porary city, where in a wide street some kind of a bull running is taking place.
Both works combine the depiction of carnival merrymaking with labours carried
out in winter, although in the Cambridge drawing the carnival scene is exposed,
while in the Warsaw painting it remains just an equal part of the staffage.
The drawing from the Fitzwilliam Museum and even more the confusion
over its authorship confirm the artistic cooperation of Toeput and Momper or,
rather, the latter's apprenticeship at the studio in Treviso. In both paintings from
8 Gerszi also argued that the drawing from the Fitzwilliam Museum is probably the earliest
known drawing by Joos de Momper. Ibidem, pp. 179-180.
140