LANDSCAPE AND MEMORY
- d'Onofri, Landscape with Battus
- after Brueghel, Alpine Landscape
- School of Antwerp, Imaginary Landscape
- Sadeler, Facade of a Temple
- van Noort, Landscape with the Temple
- Davent, Landscape with Ancient Ruins
- att. to Pozzoserato, Mountainous Landscape
- van de Velde II , Interior of the Ruins
- Waterloo, Two Travelers
- Grimaldi, Landscape
- Saftleven, Landscape with a Man
- Barrière, View of the Town
- Monti, Landscape with a River
- Meyeringh, Landscape with Mercury
- Bout, The Skaters
- Lelu, A Town in Portugal
- Dietricy, Heroic Landscape
- Le Loup , View of the Town
- att. to Verrijk , River Scene
- Kolbe, Landscape with a Cowherd
- Roos, Vast Mountainous Landscape with Herds
- Roman School, Lago d’Albano,
- Isabey, Ruines du Château
- Williams, A Part of Melrose Abbey
- Palmer, The Morning of Life
- Richardson, Loggers by a Lake
- att. to Preller, Oak Trees
- Lalanne, Plage des Vaches
- Miller, A Road in Winter
- Haden, Sunset in Ireland
- Doeleman, Stormy Sky
- Meryon, Nouvelle Zélande
- Latenay, Autumn Trees
- German School, Birches
- Cameron, Ben Lomond
- Yeats, July 4, 1908
- MacLaughlan, Rossinières
- Cotton, Spring Landscape
- Legros, Une Vallée
- Torre-Bueno, Farmlands
- Jungnickel, Loser - Altaussee
- Komjati, Willows
- Wengenroth, Bucks County
- Kantor, Abstracted Landscape
- Eby, Christmas Trees
- Massen, Landscape with Trees
Imaginary Landscape
Drawing in pen and brown ink and wash on early, but un-watermarked, laid paper, 137 x 201 mm., ex collection: Leonard Baskin (purchased directly from him).
This fascinating drawing is from the earliest generation of Flemish landscape artists, a group that includes such figures as Jan van Scorel and Lucas Cornelisz Kunst. The rather bizarre, craggy mountain in the central background derives from Joachim Patinier (ca. 1485-1524) and appears, in some form, in numerous Flemish works of the period and afterward. The architectural elements also appear in other paintings and drawings of the time, whether the artist thought he was deriving his landscape backgrounds from Italy, Greece or the Holy Land. But the striking thing about this drawing is its focus on the dead tree is the foreground, whose low branch projects toward the viewer to proclaim its three-dimensionality. Yes, that has little to do with landscape per se, or with legend or with memory, but it does seem to say something about artistic discovery. Verso is another landscape drawing, perhaps of some years later and possibly by another hand. Landscape drawings of this period are extremely rare.
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