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
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7. att. to Lodoewyjk Toeput, called Lodovico Pozzoserato (ca. 1550-1603/5) Mountainous Landscape with a Town |
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(click on image to print)

Mountainous Landscape with a Town
Drawing in pen and brown ink, brown and grey wash on laid paper with framing lines, 110 x 207 mm, an old cataloguing number, H. 103 on a separate piece of paper from the old mount.
This is an exceedingly fluent and capable pen and brown ink drawing of a vast landscape looking toward the sea (which one would assume, then, was in Italy), which has taken on a weirdly modern, almost abstract, appearance through the artist’s covering many of the lines and most of the pale brown wash with heavier grey wash, which transforms details into textures and makes of the whole a study in dramatic chiaroscuro. It is clearly experimental and clearly intentional. The attribution is based on the underlying drawing style, and it is certainly the work of a northern artist of that time, working in southern light. But we have never seen another drawing of the time, by Pozzoserato or anyone else, that employed this odd technique.