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Dutch Old Master Painting "Southern Landscape" Oil On Canvas, 17th Century1640
1640
$10,126.84
£7,523.53
€8,500
CA$14,041.31
A$15,100.26
CHF 8,074.14
MX$182,104.82
NOK 102,102.99
SEK 93,028.97
DKK 64,784.12
About the Item
Jan Both (attributed)
Utrecht 1610/18 - 1652
Southern Landscape with Bridge and Shepherds
Oil on canvas/doubled
Signed "Both fec." in the center at the bottom
Size: approx. 72 x 86 cm
Frame: 95 x 108 cm
Frame slightly damaged
Provenance: Lempertz Auction House 2024
Viewing and collection by prior appointment.
Authenticity confirmed in writing
Jan Both was a Dutch landscape painter of the early 17th century. He was one of the most influential representatives of the so-called "Dutch Italianates," mostly young, aspiring painters from the Netherlands who, especially during the 17th century, went to Rome to study both the evidence of classical antiquity and the works of the great masters Titian, Raphael, and Michelangelo. The magic of the ancient ruins in the hilly, sun-drenched landscape with its lush, exotic vegetation held a special appeal for them. Above all, the warm, golden light of the southern metropolis, so different from the rather gray light of their homeland, fascinated the young northerners.
Even during Jan's first studies in painting between 1634 and 1637, probably with Gerrit van Honthorst or Abraham Bloemaert, his early development as a landscape painter became apparent, probably also under the influence of Carel de Hooch († 1638), whose realistic landscapes formed an important alternative to the more traditional depictions of Cornelis van Poelenburch or Bartholomeus Breenbergh and certainly left a lasting impression on the young, aspiring artist.
Together with his brother Andries, also a painter, but more inclined towards peasant scenes similar to those of Adriaen Brouwers, Jan left his homeland and stayed in Rome from 1637/38 to 1641. There he soon became a member of the so-called "Bamboccianti" (collaborators or successors from the circle of Pieter van Laer, known as il Bamboccio), worked closely with Claude Lorrain on two series of large-format landscape scenes (now in Madrid, Prado), and was friends with Herman van Swanevelt, among others. From them, Jan also adopted the arrangement of his landscapes in diagonal lines to achieve greater depth of space, and unified his compositions with the help of that glowing golden light that became so characteristic of his entire later oeuvre, together with a naturalistic representation of details that clearly distinguished his paintings from those of his fellow painters.
In 1641, Jan and Andries left Rome to return to Utrecht. However, Andries died in an accident during a stopover in Venice. Back in Utrecht, Jan Both devoted himself entirely to the realistic depiction of "Italianized" landscapes, which were largely based on his Roman studies and drawings. Jan did not populate his scenes with mythological figures, as was usually the case, but with real figures such as hikers, shepherds, or horsemen.
Throughout his short but significant career, Jan Both often collaborated with other artists. In addition to the aforementioned Claude Lorrain, these included Cornelis van Poelenburch, Jan Baptist Weenix, Pieter Saenredam, and Nicholas Knüpfer. Jan Both's choice of subjects and exemplary style of composition were admired by many of his contemporaries and were a major source of inspiration for the third generation of Dutch "Italian travelers," including Willem de Heusch and Frederik de Moucheron. His drawing style was also frequently copied, most faithfully by his pupil Jan Hackaert. Jan Both's art also had a lasting influence on fellow painters who were unable (or unwilling) to travel to the south. Perhaps best known is his influence on Aelbert Cuyp, who probably met Jan Both in person in Utrecht during his first major trip to Holland in 1642. After this trip, Aelbert Cuyp's depiction of light clearly changed from a rather subdued, grayish atmosphere to a scene bathed in southern golden light and stronger colors. With this unique symbiosis of a thoroughly Dutch landscape in Mediterranean light, Cuyp created a completely new type of landscape painting that was highly valued and often copied for a long time. Jan Both's 'Italian' landscapes were also much admired and popular in the art scene until the mid-19th century. However, in the course of the return to the original, true-to-life representation of the Dutch landscape during the late 19th and first half of the 20th century, they were no longer given any attention. It was not until the 1960s that Jan Both and his significance for Dutch landscape painting were rediscovered, among other things through a study by M. R. Waddinghams.
- Attributed to:Jan Both (1610 - 1652, Holland)
- Creation Year:1640
- Dimensions:Height: 28.35 in (72 cm)Width: 33.86 in (86 cm)Depth: 0.79 in (2 cm)
- Medium:
- Movement Style:
- Period:
- Condition:
- Gallery Location:Eltville am Rhein, DE
- Reference Number:1stDibs: LU2910217152202
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