Berglandskap

Konstnär/Tillverkare

DateringUtförd: Utf. slutet av 1650-talet (?)

Material / Teknik

Måtth x b: Mått 36,4 x 27,9 cm

InventarienummerNMH 5/2008

FörvärvInköp 2008 med Sara och Johan Emil Graumanns donationsmedel

Andra titlarTitel (sv): Berglandskap Titel (en): Alpine landscape

BeskrivningBeskrivning: Panoramavy över storslaget berglandskap med dalgång och flod; i förgrunden t.v. två vandrare i samspråk, i mitten avbarrade trädstammar och en get uppflugen på ett stenparti. Beskrivning: Pen and brown (iron gall) ink, brown, blue and grey wash, watercolour, over traces of graphite, 364 x 279 mm. Sheet pasted on a secondary support. Framing lines, partially, in black ink. Sheet soiled. All four corners slightly damaged by abrasion. Watermark: Not visible. Chain lines: Vertical, 25–27 mm apart. Numbered in pencil on the verso of the mount, 293. Annotated in pen and brown ink on the verso of the mount, View in Norway. The present drawing, which has remained unpublished, comes from the renowned collection formed by British scholar Paul Oppé (1878–1957), which consisted mainly of landscape watercolours, including those of J. M. W. Turner. Haverkamp-Begemann has confirmed the attribution of the drawing to Lambert Doomer (1624–1700), one of the most important and characteristic of Dutch topographical draughtsmen, yet one whose drawings surpass those of his contemporaries in their special quality of atmosphere and their pictorial and Romantic treatment of subject matter. The Stockholm Alpine Landscape belongs to a group of some eight known copies made by Doomer after Roelant Savery’s (1575–1639) famous “Tyrolean” landscape drawings of c. 1602/09, with closely related examples in Berlin and Paris. In 1931 Lugt recognized the Berlin drawings, including a sheet now in Paris (Institut Néerlandais, Fondation Custodia), as copies by Doomer after Savery. The 1656 inventory of Rembrandt’s estate lists a large album of “Tyrolean” landscapes by Savery drawn “from life”, which was probably the set – since dispersed – purchased by Doomer at the auction of his friend’s “graphic art works” in December 1658. This was later allegedly sold by Doomer (see below), in whole or in part, to the collector Laurens van der Hem, who pasted Savery’s drawings into volumes of the new edition (1662) of Joan Blaeu’s Atlas Maior. Rather than being topographically correct depictions of alpine scenes, most of Savery’s originals show incongruities that would be inexplicable had the artist really drawn “from life”. These drawings should instead be regarded as studio products for which the artist probably used rough sketches created during his travels, while in the finished drawings the fantastic element prevails. Doomer made copies of several of the Savery drawings in his possession, including the Stockholm sheet, for which no original by Savery has as yet been found. In his copies, Doomer clearly made a deliberate attempt to imitate Savery’s drawing style, possibly both as a virtuoso display and as an expression of admiration. Savery’s alpine landscape drawings are most often executed in black and red chalk with some coloured wash, less frequently in pen. Doomer adapted this technique to the washed pen drawing, a medium he considered appropriate for the finished collector’s piece, and, with few exceptions, used chalk only for the original sketches made on his travels. This change in technique resulted, in Doomer’s copies, in greater clarity, particularly through his outlining of the contours with the pen. He also intensified the subtle effects of light and atmosphere of Savery’s originals by his superb wash technique. Within the group of Doomer copies, there are some marked differences in technique. Thus, the Stockholm Alpine Landscape may in particular be compared with the Paris View of a Mountain Range, in which a fine perspective has been achieved in the background by setting wide and somewhat paler pen strokes in a masterful manner on the absorbent paper, while the foreground was drawn with a fine, pointed pen. As in the Stockholm sheet, Doomer sometimes substituted staffage figures in elegant contemporary dress for Savery’s simple peasants, and he accentuated the clouds with the pen and brush. The question of the date of these copies cannot be definitively answered. Doomer probably acquired the Savery drawings in 1658, and only then was he really in a position to make his copies. Since the models for three of these are in the Atlas van der Hem, Van Hasselt concluded that Doomer, himself a supplier of landscapes for that topographical collection, could have seen Savery’s originals at the house of Laurens van der Hem. Schulz, on the other hand, traced the Savery sheets in the Atlas to Doomer’s own collection, alleging that Van der Hem acquired those drawings from the artist in 1665. The copies, according to him, must date from the time of the sale of the originals, which would suggest that Doomer made them for himself to replace the originals he sold. However, as Sumowski noted, not all of Doomer’s copies after Savery were based on models in the Atlas. A dating around the mid-1660s also remains uncertain because, as Sumowski and Schatborn both recognized, there is no documented evidence of Doomer’s previous ownership of the Savery drawings in the Atlas. Still, although Doomer’s individuality as a draughtsman is somewhat obscured in these copies, any detectable analogies with his own work, as suggested by Sumowski, come closest to the drawings from his Rhine journey of 1663. The Savery copies remained in Doomer’s possession, and he copied the waterfall of the Berlin drawing once more – presumably as late as the beginning of the 1690s – in a drawing in Brno, Mountain Landscape with Waterfall, Log Cabin, Traveller and Mule. C. F. [Magnusson, Dutch Drawings no. 134

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MaterialBlyerts/grafit, Akvarellfärg, Bläck

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