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#0144
winter months14 is, next to the Fitzwilliam drawing, another work representing Two Unknown
the same scheme as the Winter from the Warsaw private collection. One more Paintings...
time we can find here the division between the view of a city and a vast land-
scape. The addition of the figure of Pomona in the foreground, exactly in the centre
ofthe composition, puts this work even closer to our painting which combines the
depiction of the labours of the months with the appropriate god or goddess. It also
proves that the compositional idea ofthe Warsaw Seasons came from Pozzoserrato.
And what is the most important, albeit scattered in three collections, is a set of four
drawings representing the four seasons assigned to Toeput constituting a single
whole, as evidenced by the size, stylistic treatment, and composition providing the
closest analogy to the Warsaw paintings.
Winters drawing which comes from the Yale University Art Gallery (fig. 6), New
Haven (Ct), repr. public domain, shows January and the only difference between the
Warsaw painting and this drawing are the differences in staffage to the right of Janus.
Fig. 6. Lodewijk Toeput, Winter landscape (January), 80s of the 16th century - about 1590?,
drawing, Yale University Art Gallery, New Haven (Ct), repr. public domain
Summer comes from the National Gallery of Art in Washington (fig. 7).15 It
depicts August, with threshing, haying, and bringing in the crop. In the left corner,
beneath a tree, we can see Ceres with a cornucopia and an armful of ears of corn.
14 An exact identification of the drawing's subject is difficult, as it combines winter landscape
and carnival scenes with the figure of Pomona, goddess traditionally identified with autumn.
15 Terez Gerszi confirmed the authorship of Toeput in The Draughtsmanship of Lodewijk
Toeput, "Master Drawings” 1992, vol. 30, no. 4, pp. 367-395.
143
the same scheme as the Winter from the Warsaw private collection. One more Paintings...
time we can find here the division between the view of a city and a vast land-
scape. The addition of the figure of Pomona in the foreground, exactly in the centre
ofthe composition, puts this work even closer to our painting which combines the
depiction of the labours of the months with the appropriate god or goddess. It also
proves that the compositional idea ofthe Warsaw Seasons came from Pozzoserrato.
And what is the most important, albeit scattered in three collections, is a set of four
drawings representing the four seasons assigned to Toeput constituting a single
whole, as evidenced by the size, stylistic treatment, and composition providing the
closest analogy to the Warsaw paintings.
Winters drawing which comes from the Yale University Art Gallery (fig. 6), New
Haven (Ct), repr. public domain, shows January and the only difference between the
Warsaw painting and this drawing are the differences in staffage to the right of Janus.
Fig. 6. Lodewijk Toeput, Winter landscape (January), 80s of the 16th century - about 1590?,
drawing, Yale University Art Gallery, New Haven (Ct), repr. public domain
Summer comes from the National Gallery of Art in Washington (fig. 7).15 It
depicts August, with threshing, haying, and bringing in the crop. In the left corner,
beneath a tree, we can see Ceres with a cornucopia and an armful of ears of corn.
14 An exact identification of the drawing's subject is difficult, as it combines winter landscape
and carnival scenes with the figure of Pomona, goddess traditionally identified with autumn.
15 Terez Gerszi confirmed the authorship of Toeput in The Draughtsmanship of Lodewijk
Toeput, "Master Drawings” 1992, vol. 30, no. 4, pp. 367-395.
143