6.3 Mannerism – Figure Painting and Landscape
1
Bartholomeus Spranger
Baptism of Christ in the river Jordan, dated 1603
Wrocław, Muzeum Narodowe we Wroclawiu, inv./cat.nr. VIII-2252
2
Cornelis Cornelisz. van Haarlem
Christ with the eucharistic chalice and the cross, c. 1592
Warsaw, Muzeum Narodowe w Warszawie, inv./cat.nr. M.Ob.20 MNW
3
Jacob van Swanenburgh
The Sibyl showing Aeneas the Underworld / Charon's boat, c. 1600
Gdańsk, Muzeum Narodowe w Gdańsku, inv./cat.nr. MI 445
4
and possibly Abraham Govaerts and Sebastiaan Vrancx Jan Brueghel (I)
Landscape with robbers sharing loot, c. 1605
Warsaw, Muzeum Narodowe w Warszawie, inv./cat.nr. M.Ob.231 MNW
The Rudolfine version of Mannerism is represented by Bartholomeus Spranger’s Baptism of Christ in Wrocław [i],1 and in its northern Netherlandish form in Cornelis van Haarlem’s Christ with the Eucharistic Chalice and the Cross in Warsaw [2] as well as Jacob Isaacsz. van Swanenburg’s Sybil Showing the Underworld to Aeneas in Gdańsk [3].2
The beginnings and development of independent Flemish landscape painting are well documented in Polish collections, especially in the National Museum in Warsaw, which owns paintings attributed to Jacob Grimmer and Gillis Mostaert, Pieter and Anton Stevens as well as such high-quality pieces as Jan Brueghel’s Wood Landscape with Robbers Sharing Loot [4] and Abraham Govaerts’s Wooded Landscape with Peasants Crossing a Ford [5], a charming Park Landscape by David Vinckboons [6] and numerous Mompers [7].3
The homogenous Warsaw group of Mannerist vistas should be complemented with Joos II de Momper’s Mountain Landscape [8], the Return from the Calvary attributed to Pieter Schoubroeck in Poznań [9] and a late, fantastic Landscape with Lot and His Daughters by Marten van Valckenborch in the Catholic University in Lublin [10].4 The Valckenborch family is further represented by Lucas II van Valckenborch’s Rest during the Flight to Egypt in the Royal Castle in Warsaw [11]5 and a spirited, chiaroscuro Rape of Helena attributed to Gillis van Valckenborch in Wrocław [12].6 Teniers’ Landscape with a Camp of Gypsies from the 1640s [13]7 which is very refined in its use of colour and considered quite exceptional in the artist’s oeuvre displays already a Baroque feeling of nature.
5
Abraham Govaerts
Wooded landscape with peasants crossing a ford, c. 1619
Warsaw, Muzeum Narodowe w Warszawie, inv./cat.nr. M.Ob.817 MNW
6
David Vinckboons (I)
Park landscape with a company returning from the hunt, c. 1610
Warsaw, Muzeum Narodowe w Warszawie, inv./cat.nr. M.Ob.834 (128537)
7
Joos de Momper (II)
Dune landscape with travellers and cattle, c. 1610-1615
Warsaw, Muzeum Narodowe w Warszawie, inv./cat.nr. M.Ob.377 (4209)
8
Joos de Momper (II)
Mountainous landscape, c. 1620-1630
Poznań, Muzeum Narodowe w Poznaniu, inv./cat.nr. MNP Mo 823
9
attributed to Peter Schoubroeck
Return from Golgotha
Poznań, Muzeum Narodowe w Poznaniu, inv./cat.nr. MNP Mo 95
11
Lucas van Valckenborch
Panoramic landscape with the Rest on the Flight to Egypt, 1590s
Warsaw, Zamek Królewski w Warszawie
10
Marten van Valckenborch (I)
Mountain landscape with Loth and his daughters, dated 160[9?]
Lublin, Katolicki Uniwersytet Lubelski Jana Pawła II (Instytut Historii Sztuki), inv./cat.nr. MU KUL I-131
12
Gillis van Valckenborch (I)
The abduction of Helen
Wrocław, Muzeum Narodowe we Wroclawiu, inv./cat.nr. 2447
13
David Teniers (II)
River landscape with a camp, dated 1641
Warsaw, Muzeum Narodowe w Warszawie, inv./cat.nr. M.Ob.570 MNW
Notes
1 DaCosta Kaufmann 1988, no. 20.76; Benesz 2005A; Steinborn 2006, cat. no.58.
2 Folga-Januszewska/Ziemba 2004, cat. no. 58 and cat. no. 59.
3 Benesz 2004A.
4 Przylicki 2013, p. 22; Przylicki 2013A(in print).
5 Juszczak/Małachowicz 2013, cat. no. 314.
6 Steinborn 2006, cat. no.62.
7 Klessmann 1988, cat. no. 59.