Beskrivning: Se även beskrivning i den engelska versionen

Catalogue raisonné: Description in Flemish paintings C. 1600-C. 1800 III, Nationalmuseum, Stockholm, 2010, cat.no. 192:

Technical notes: The painting’s fabric support has
been lined and mounted on a non-original stretcher. A
thick ground hides the underlying weave structure of the
support.
Paint was applied thickly, wet-into-wet, the brush
strokes in the dogs’ coats smoothly blended, with rich
impastos in the whites.
The painting is generally in rather poor condition. A
heavily discoloured layer of old varnish is present. A pronounced
overall craquelure is visible, partially crystallized.
Coarse retouching along the left (towards top and
bottom) and right edges covers abrasion and losses of the
paint and ground layers; scattered minor retouches are
visible in the sky, the dogs, and the foreground soil.

Provenance: Carl Edvard Ekman, Finspång, Sweden,
by 1886; Axel Ekman, Mo gård. Purchased in 1990 from
Louis de Geer, Sunnanå säteri, Brunna.

Bibliography: Granberg 1886, no. 180 (as Paul de
Vos); Göthe 1894, p. 20 no. 99 (as Paul de Vos);
Granberg 1911–1913, III, p. 7 no. 21 (as Paul de Vos);
Granberg 1929–1931, III, p. 72

A wild boar is overtaken by four snarling hunting
dogs, and attacked from every side, as a fifth dog tumbles
underfoot in the foreground. The massive boar
and hounds occupy most of the picture space, with a
tree and distant hills partially visible on the left.
Like the previous number (no. 191), the present
painting was attributed by Granberg (1886), followed
by Göthe (1894), to the Antwerp animal painter Paul
de Vos. Executed by the same hand (an early 18th-century
copyist?), both paintings seem derived from works
by Frans Snyders, in terms of composition and individual
motifs, so that there seems little reason to maintain
an attribution to De Vos. The general design of the
present painting – though not the same grouping of
dogs – and the pose of the boar, which thrusts its powerful
head back in the direction of its attackers, increasing
the drama of the confrontation, can be found in
Snyders’ Boar Hunts of the early 1620s at Poznan
(Museum Narodowe) and Antwerp (Rockoxhuis),1 as
well as in a late work of the same subject in the English
Royal Collection (London, Kensington Palace, The
Royal Collection of Her Majesty Queen Elizabeth II).2
The light-coloured dog lying on its back in the foreground
is related to a type employed by Snyders, for
example, in a Boar Hunt in Madrid (Museo Nacional
del Prado).3
A companion piece to no. 191.
CF

1 Oil on canvas, 197 x 342 cm, Poznan, Museum Narodowe, inv. no. Mo
91; and oil on canvas, 198 x 315 cm, Antwerp, Rockoxhuis; see Robels
1989, cat.nos. 223 I, 223 II, illus.
2 Oil on canvas, 202 x 350 cm, signed, London, Kensington Palace, The
Royal Collection of Her Majesty Queen Elizabeth II, inv. no. 704; see
ibid, cat. no. 236
3 Oil on canvas, 98 x 101 cm, Madrid, Museo Nacional del Prado, inv. no.
1759; see ibid, cat. no. 232, and cf. a drawing of a wounded dog lying on
its back, black chalk, heightened with white, on blue-grey paper, 272 x
488 mm, London, BM, inv. no. 00.9.38, see ibid, cat. no. Z 50. For the
Madrid Boar Hunt, see also Díaz Padrón 1995, pp. 1256–1257, illus. [End]

Utforska konstnärer och föremål som finns i Nationalmuseums samlingar.

Explore the artists and artworks of Nationalmuseum Sweden.

Paul Vos | Vildsvinsjakt | Nationalmuseum