Beskrivning: Se även beskrivning i den engelska versionen

Catalogue raisonné: Description in Flemish paintings C. 1600-C. 1800 III, Nationalmuseum, Stockholm, 2010, cat.no. 7:
 
Technical notes: The support consists of a single
piece of plain weave fabric with even and finely woven
threads. The painting has been lined. Fragments of the
original tacking edges have been preserved along the left
side, top and bottom. Cusping is present on all four
sides. Lining has caused some damage to the layer of
paint. The support has shrunk causing wrinkling of the
paint, mainly in the sky. The ground is whiteish and the
imprimatura reddish brown, clearly visible in the sky.
The paint layer is opaque. The figures in the foreground
have been painted over the foreground. They are rendered
simply. The palette consists mainly of earth pigments
with traces of red and blue. In places the green of
the foliage has changed to brown. Retouching has taken
place along the tacking edges. Some crudely executed
retouches in the sky. The figures are intact. The painting
underwent conservation treatment in 1929 and 1969
provenance: Martelli 1804, no. 191; KM 1816, no. 773.
bibliography: Sander III, p. 109, no. 191 (as Orrizonte);
NM Cat. 1867, p. 23 (as Jan Frans van Bloemen);
Göthe 1887, p. 18; Göthe 1893, p. 23; NM Cat. 1958, p.
17 (as Jan Frans van Bloemen); NM Cat. 1990, p. 31 (as
Jan Frans van Bloemen).
For the provenance and history of this painting, see
no. 6. The motif shows a landscape with a monastery
surrounded by cypresses and pines. In the foreground
a herdsman can be seen talking to a half-naked, seated
man.
Jan van Bloemen was the most productive of the
artists that followed in the footsteps of Gaspard
Dughet and continued the Roman landscape tradition
into the 18th century. His palette, sombre to begin
with, became lighter with time and the interplay of
light and shade is one of his main themes. He rarely
painted the figures himself but these were mainly the
work of Placido Costanzi. The painting lacks a signature
but Van Bloemen rarely signs his works and only
two of them are dated.
GCB [End]

The motif shows a landscape with a monastery
surrounded by cypresses and pines. In the foreground
a herdsman can be seen talking to a half-naked, seated man.

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