An Italianate Evening Landscape

c. 1650

Jan Both

Painter, Dutch, 1615/1618 - 1652

Warm light coming from the left illuminates four men standing in pairs on either side of a dirt road that winds between rocky, tree-studded hills and a misty river in this almost square landscape painting. The trees have tall, gnarled, brown trunks with high canopies of sage, olive, and forest green while others have golden yellow leaves. The road curves in a C-shape along the foot of the hills that rise up the right side of the composition, their craggy faces painted in warm tones of sand, fawn, and caramel brown. Closest to us is rocky terrain covered with scrubby plants and two moss-covered trees growing next to a broken tree trunk that separates us from the men. The trees are just right of center and divide the scene vertically. The two men to the right of the tree rest among boulders next to the road. One sits and the other stands, and each holds a tall staff. A light-gray, bearded goat lies to the right of the men and closer inspection reveals another grazing nearby. On the left, one man sitting astride a donkey turns his head away from us to look at the man standing just behind him. The men are all simply dressed in knee-length breeches, shirts, and sleeveless coats in shades of brick red, ivory, and tan, or ginger brown, and wear tall, wide brimmed hats. A man driving cattle approaches them from farther back along the road. Beyond the tall trees near the center, the hills slope down to a winding river fringed with trees. The river flows into the distance, past headlands jutting into the water, and ends at a tall mountain rising from the low horizon. A thin wash of butter yellow creates a hazy glow over the river, headlands, and distant mountain. A pale robin's egg-blue sky scattered with petal-pink and dusty rose-colored clouds fills the top of the scene.

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Jan Both was one of the most important Dutch painters of Italianate landscapes. In 1637 or 1638 he joined his older brother Andries in Rome and stayed there until his return to his native city of Utrecht in 1642. While in Rome, Both collaborated on two projects with Claude Lorrain (1604–1682), whose ideal of the classical landscape greatly influenced the younger artist. Both's refined brushwork and attention to detail, however, are characteristics of his Dutch heritage.

An Italianate Evening Landscape is a wonderful example of Both's ability to lure the viewer into a distant world and make that world seem welcoming and familiar. In a gentle mountainous setting reminiscent of the hills of the Roman Campagna, goatherds and cowherds prepare to return to their homes as the sun slowly descends behind the horizon. The men are surrounded by imposing trees whose foliage creates a rich play with the light clouds and the changing hues of the evening sky. Against the golden sunset that saturates this scene, these humble men gain a simple dignity. Everything in this tranquil setting exudes a feeling of well-being. Although the human figures are dwarfed by the majestic trees, man and nature seem to exist in perfect harmony. In this arcadian setting, only the broken trunk in the center of the foreground subtly reminds us of the mutability of the world and its inhabitants.

On View

West Building Main Floor, Gallery 47

Artwork overview

  • Medium

    oil on canvas

  • Credit Line

    Patrons' Permanent Fund

  • Dimensions

    overall: 138.5 x 172.7 cm (54 1/2 x 68 in.)

  • Accession

    2000.91.1

More About this Artwork

Scholarly Article:  Dutch Paintings of the Seventeenth Century: An Italianate Evening Landscape, c. 1650

This horizontal painting shows a group of eight light-skinned musicians and onlookers gathered closely around a rectangular, carpet-covered table. The front edge of the table runs parallel to the bottom edge of the painting, and seems close to us. Shown from about the waist up, the men and women’s vivid lapis-blue, coral-red, buttercup-yellow, lilac-purple, and moss-green garments fall in crisp folds. Bright reflections on the fabric suggest a satin-like material. Two women wear feathers in their hair and one man’s hat is plumed. One man, wearing crimson red and black, sits with his back to us to our left on the near side of the table. He holds the neck of a bass viol, about the size of a cello, with his left hand, and points to pages of an open music book with the bow in his right hand. The other people cluster on the far side of the table. A man to the left plays a violin; a woman at the center plays a guitar-sized bandora, and a woman to our right plays a lute. The musicians, along with a man who leans over the table from between the two women, look down at the music books. A young man behind the woman at the center holds up a glass of pale liquid with his right hand as he touches his left forefinger to his smiling lips. A man and woman stand close together in the background to our right, in the top right corner of the canvas.

Scholarly Series:  Dutch Paintings of the Seventeenth Century

Artwork history & notes

Provenance

Pieter Cornelis, baron van Leyden [1717-1788, known during his lifetime as the Heer van Leyden van Vlaardingen], Leiden;[1] by inheritance with the paintings in his collection to his son, Diederik van Leyden [1844-1810/1811], Leiden and Amsterdam;[2] sold, with the rest of his father's painting collection, to a consortium formed by L.B. Coclers, Alexander Joseph Paillet, and A. de Lespinasse de Langeac;[3] (sale, Paillet and Delaroche, Paris, 5-8 November 1804, no. 6);[4] purchased by Paillet for Herard. Alexander Baring [later 1st baron Ashburton, 1774-1848], Bath House, London, by 1821;[5] by inheritance to his son, William Bingham Baring, 2nd baron Ashburton [1799-1864], Bath House, London; by bequest 1864 to his wife, Louisa Caroline, Lady Ashburton [née Mackenzie, 1827-1903], Bath House, London; sold by her executor and son-in-law, William George Spencer Scott Compton, 5th marquess of Northampton [1851-1913], to a consortium of (Thos. Agnew & Sons, Charles Davis, Arthur J. Sully, and Asher Wertheimer, all in London); presumably retained by Wertheimer until (his sale, Christie, Manson & Woods, London, 18 June 1920, no. 6, as A Woody Landscape); (Permain, London).[6] Charles Hubert Archibald Butler [1901-1978], Shortgrove, Newport, Essex; (sale, Christie, Manson & Woods, London, 26 June 1964, no. 51);[7] (Alfred Brod Gallery, London), until at least December 1965.[8] (Hazlitt, Gooden and Fox, London), 1966-1967; sold to private collection; (sale, Christie, Manson & Woods, 7 July 2000, no. 17); purchased by NGA.
[1] The provenance is taken from the 7 July 2000 sale catalogue. About the Van Leyden collection, see the description of Sale F-80, by Benjamin Peronnet, in The Getty Provenance Index© Databases, accessed 17 February 2012, and J.W. Niemeijer,“Baron van Leyden, Founder of the Amsterdam Print Collection,” trans. Patricia Wardle, Apollo (June 1983): 461-468. As Niemeijer explains, in Van Leyden’s own day the title of baron was not actually used; when alive he was known as the Heer Van Leyden van Vlaardingen. He is given the title of baron in later publications, a title that was indeed his, as an ancestor was created a baron of the Holy Roman Empire in 1548.
[2] Niemeijer 1983, 468. While his son inherited the paintings, Van Leyden’s large and important print collection was bequeathed to his grandson, after whose death in 1789 it became the property of the young man’s mother. Sold in 1806 to Louis Napoleon, it was housed first in The Hague, then Paris, and was eventually returned in 1816 to Amsterdam, where it formed the nucleus of the print collection at the Rijksmuseum.
[3] The sale catalogue does not cite a source for this information.
[4] The sale was originally scheduled for 5 July 1804, and rescheduled for 10 September 1804 (the date printed on the sale catalogue), before finally taking place in November.
[5] Baring lent the painting to an 1821 exhibition at the British Institution.
[6] The 2000 sale catalogue indicates that the painting was “possibly purchased by Seligman” at the 1920 sale. However, the annotated copy of the 1920 sale catalogue available on microfiche in the Christie’s catalogues from the Knoedler Library gives the buyer as “Permain,” who might be the London dealer William Permain.
[7] The painting was erroneously described in the sale catalogue as having come from the collection of his grandfather, Charles Butler of Warren Wood, presumably having been confused with a landscape by Both lent by his grandfather to the British Institution in 1864 (no. 88).
[8] The painting was offered by the Alfred Brod Gallery to the National Gallery of Art in December 1965 (original letter of 13 December 1965 in NGA Photographic Archives, copy in NGA curatorial files).

Associated Names

Exhibition History

1821

  • British Institution, London, 1821, no. 55, as Landscape; a View in Italy, with Figures travelling.

1964

  • 25th Exhibition of Old Master Paintings, Alfred Brod Gallery, London, 1964, no. 41.

1965

  • Nederlandse 17e eeuwse Italianiserende landschapschilders [Dutch 17th Century Italianate Landscape Painters], Centraal Museum, Utrecht, 1965, no. 57, repro., as Landschap met muilezelrijder.

2001

  • Aelbert Cuyp, National Gallery of Art, Washington, D.C.; National Gallery, London; Rijksmuseum, Amsterdam, 2001-2002, not in catalogue (shown only in Washington for first month of exhibition).

Bibliography

1821

  • British Institution for Promoting the Fine Arts in the United Kingdom. A catalogue of pictures of the Italian, Spanish, Flemish, and Dutch schools: with which the proprietors have favoured the Institution. Exh. cat. British Institution, London, 1821: 16, no. 55.

1829

  • Smith, John. A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish and French Painters. 9 vols. London, 1829-1842: 6(1835):179, no. 23,199-200, no. 78.

1854

  • Waagen, Gustav Friedrich. Treasures of Art in Great Britain: Being an Account of the Chief Collections of Paintings, Drawings, Sculptures, Illuminated Mss.. 3 vols. Translated by Elizabeth Rigby Eastlake. London, 1854: 2:111.

1907

  • Hofstede de Groot, Cornelis. Beschreibendes und kritisches Verzeichnis der Werke der hervorragendsten holländischen Maler des XVII. Jahrhunderts. 10 vols. Esslingen and Paris, 1907-1928: 9(1926):505, no. 306.

1964

  • Alfred Brod Gallery. 25th Exhibition of Old Master Paintings. London, 1964: no. 41.

1965

  • Houtzager, Maria Elisabeth, H.J. de Smedt, and Albert Blankert. Nederlandse 17e eeuwse Italianiserende landschapschilders. Exh. cat. Centraal Museum, Utrecht, 1965: 126, no. 57.

1972

  • Burke, James Donald. "Jan Both: Paintings, drawings, and prints." Ph.D. dissertation, Harvard University, Cambridge, 1972: 200-201, no. 31.

1978

  • Blankert, Albert. Nederlandse zeventiende eeuwse Italianiserende landschapschilders. Revised and enlarged ed. Exh. cat. Centraal Museum, Utrecht. Soest, 1978: 126, no. 57.

2003

  • Waagen, Gustav Friedrich. Treasures of Art in Great Britain. Translated by Elizabeth Rigby Eastlake. Facsimile edition of London 1854. London, 2003: 2:111.

Inscriptions

lower left, JB in monogram: JBoth

Wikidata ID

Q20177323

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