Beskrivning: Se även beskrivning i den engelska versionen

Catalogue raisonné: Description in Flemish paintings C. 1600-C. 1800 III, Nationalmuseum, Stockholm, 2010, cat.no. 170:

Technical notes: The support consists of a piece of
fabric in a dense and even twill weave. The tacking edges
have been trimmed to match the outer edges of the current
strainer. The painting has been lined.
The canvas was prepared with a thick and even application
of ground that completely covers the structure of
the fabric.

The paint layer has been applied thinly and opaquely
with impasto in the highlights. The figures are rendered
in fine detail. The faces are well modelled. The garments
are rendered well with a wealth of fine details. The figures
have been painted over the foreground and background.
There are numerous architectural details painted
with fine, opaque brushstrokes. In places painted outlines
for the architecture can be seen, executed in a wet medium.
In the foliage to the left there are highlights in zigzag
patterns. The trees have partly been painted into reserves
left for them but some branches and leaves overlap the
sky. The landscape in the background has been painted
using a sfumato technique.The painting underwent conservation
treatment in 1870, 1872, 1934, 1943 and 1982.

Provenance: Gustav III (as Crown prince) no. 59; Gustav
III 1792, no. 12 (as Roland Savery); KM 1795, no.
180; KM 1816, no. 195; NM Cat. 1867, p. 65.

Bibliography: Sander II, p. 102, no. 12 (as Roland
Savery); Göthe 1887, pp. 240–241; Göthe 1893, pp.
295–296; Von Wurzbach II, p. 580; Granberg 1931, p.
17; NM Cat. 1958, p. 182; Thiéry and Meerendre 1987,
no. 22, p. 250; NM Cat. 1990, p. 329.

This painting, signed “M. Schoevaerdts”, is among
those mentioned and acknowledged as one of the artist’s
works in the list produced by Thiéry and Meerendres in
1987. In 1761 the work had already been attributed to
Schoevaerdts according to Göthe 1893. In this author’s
earlier publication in 1887 comparisons are made to a
number of works by Schoevaerdts in collections in
Brussels (cat. 1882, nos. 435 and 436).
There is a companion piece to the Nationalmuseum’s
painting, also the work of Schoevaerdts, in a similar
format (no. 171). In composition both paintings
match each other and depict markets in urban settings.
This painting depicts a fruit market close to a river. In
the foreground and middle ground of the painting
several figures are portrayed, some on horseback,
some on foot, standing or sitting. A number of boats
are depicted on the river, one with hoisted sails. In the
background there is a bridge and behind it the silhouette
of a tree in leaf. To the right of the calmly flowing
river we see more figures, trees and the buildings of
the town. A number of magnificent tall trees and a secular
building are depicted on the left in the painting.
The attribution to Schoevaerdts is reasonable both
from the point of view of the composition and the rendering
of the figures. The painting was one of Gustav
III’s early acquisitions before it was transferred to the
Nationalmuseum’s predecessor, the Royal Museum,
where for some time it was attributed to Roland Savery
for reasons that are unclear. In recent years a number
of works by Schoevaerdts have been sold on the
private market, several of them similar in style to this
painting and its companion piece (no. 171) in the rendering
of the figures, buildings and trees.1
KS
1 For example see River Landscape, New York, Christie’s, 8May 1995, lot 23
and Landscape with Market and City Gate, New York, Christie’s, 5 July
1996, lot 47.[End]

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Mathys Schoevaerdts | Fruktmarknad vid flod | Nationalmuseum