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Grote schuur en een hooimijt

Grote schuur en een hooimijt

Abraham Bloemaert (in circa 1595-1605)

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Titel Grote schuur en een hooimijt
Materiaal en techniek Zwart krijt (sporen), pen in bruine inkt, bruin gewassen, waterverf
Tekening > Tweedimensionaal object > Kunstvoorwerp
Locatie Dit object is in het depot
Afmetingen Breedte 301 mm
Hoogte 129 mm
Makers Tekenaar: Abraham Bloemaert
Inventarisnummer H 6 verso (PK)
Credits Bruikleen / Loan: Stichting Museum Boijmans Van Beuningen 1940 (voormalige collectie / former collection Koenigs)
Collectie Tekeningen & Prenten
Verwervingsdatum 1940
Vervaardigingsdatum in circa 1595-1605
Signatuur geen
Watermerk none (vV, 4P). The removed backing paper (also vV, 4P) has a fragment (vertical half) of a crowned shield with French lily on the lower edge (100x30mm)(+DIGIT)(AE 20.04.2012)
Inscripties 'Abr. Bloemart' (oude toeschrijving, op de keerzijde van de verwijderde doublure, in pen in bruine inkt)
Verzamelaar Franz Koenigs
Merkteken F.W. Koenigs (L.1023a) op het verwijderde doubleerpapier
Herkomst Franz W. Koenigs (1881-1941), Haarlem; on loan to the museum, 1935-1940; purchased with the Koenigs collection by D.G. van Beuningen (1871-1955), Rotterdam and presented to the Stichting Museum Boymans, 1940; on loan to the museum since 1940
Tentoonstellingen Rotterdam 1938, nr. 230; Utrecht 2005; Parijs/Rotterdam 2014, nr. 76 (alleen Parijs)
Onderzoek Vroeg Nederlandse tekeningen uit de 15e en 16e eeuw
Literatuur Bolten 2007, nr. 1466; Collection Catalogue 2012 (online)
Bruin gewassen > Wassen > Gewassen > Tekentechniek > Techniek > Materiaal en techniek
Geografische herkomst Nederland > West-Europa > Europa

Entry bestandscatalogus Vroeg Nederlandse tekeningen uit de 15e en 16e eeuw

Auteur: Albert J. Elen

Deze beschrijving is momenteel alleen beschikbaar in het Engels.

This sheet and another one by the artist, also from the Koenigs Collection (inv. no. H 242, ill. 1)1, belong to a group of typical studies of picturesque rural scenes—generally farms, peasant cottages, dilapidated and ruined buildings, sheds and dovecots, as well as crops and ordinary utensils, in short everything that attracted Bloemaert’s attention—made during wanderings in the surroundings of Utrecht. Van Mander explicitly mentions the popularity of this kind of landscape drawings with art lovers, “for he does a great deal from life and he has a very clever manner of drawing and penmanship to which he then adds some watercolours so that it looks particularly good”.2 Bloemaert started making this kind of drawings early on in his career.3 The subject may have been summarily sketched at the spot in black chalk to be worked up afterwards with the brush and colored washes in the studio.

Bolten has compiled a group of over fifty of landscape studies, made between Bloemaert’s return from Paris in 1583 and 1591, which the young artist himself executed in a sketch-book or on single sheets kept together in a portfolio, the remainder of which is now for the most part in the Berlin print room and is therefore called the Berlin Album.4 This volume and others with drawings of different types of subject-matter, which have not come down to us or only partially as scattered sheets, became part of the workshop stock of motifs, of which Bloemaert availed himself whenever needed, for example for choosing a rural setting for depicting a biblical subject, either in a painting or a print.5

The Rotterdam drawing, however, was not part of the Berlin Album; the more consistent and accomplished drawing style indicates that it was made later when Bloemaert was in his thirties. It relates to several prints in the Farmhouse and Landscape series, engraved by Boëtius à Bolswert after designs by Bloemaert and issued by Cornelis Dankerts in Amsterdam in 1614.6 One particular motif in the Rotterdam drawing, the small thatched shed to the left, recurs in two picture drawings of a farmhouse.7 The barn on the reverse is very similar to the one in the background of the print The Parable of the Tares, engraved by Jacob Matham after a design by Bloemaert, and dated 1605.8

Recently, the backing paper was removed and the hidden drawing on the reverse was revealed. The verso drawing is the top half of a larger composition of a similar subject which was discarded and the sheet of paper cut in halves or perhaps even quarters to be reused on the reverse sides.9 This might explain the unusual landscape format of the present drawing, which may even have been larger at the right end, where the edge of a roof is visible (and on the verso the left half of a hay-stack which also seems to have been larger). Why Bloemaert gave up a highly finished drawing with brown and colour washes, which he could also have sold, is unknown. Perhaps it was spoiled by accident in the workshop. Another possibility, which seems more likely, may be that a large double-sided drawing—the present verso in it original state—was sacrificed by a collector or dealer (to raise the market value) in order to isolate two or more smaller but equally nice drawings on the reverse side of the sheet, one of which is our present recto.


1 This drawing (in black chalk, pen and brown ink, colored wash, 166 x 221 mm)belongs to the 307 missing drawings from the Koenigs Collection, kept in the Pushkin Museum in Moscow, which are claimed by the state of the Netherlands; Elen 1989, no. 472, ill.; Bolten 2007, no. 1558.

2 Van Mander 1604, fol 298r (ed. Miedema 1994, vol. 1, p. 450).

3 J. Bolten, ‘The beginnings of Abraham Bloemaert’s artistic career’, Master Drawings 36 (1998), pp. 17-25.

4 Bolten 2007, nos. 1336-1382 (in Berlin), 1383-1400 (elsewhere).

5 For instance Roethlisberger 1993, vol. 1, nos. 63 and 69, vol. 2, ill 118, col.pl. VII.

6 Roethlisberger 1993, vol. 1, nos. 230-249, vol. 2, ills. 349-368.

7 Bolten 2007, no. 1446 (c. 1600-1610) and vol. 1, p. 454, under no. 1546, vol 2, ill 1546a (c. 1615-1625).

8 Roethlisberger 1993, vol. 1, no. 84, vol. 2, ill 144.

9 Something similar happened to a drawing of farmhouses in the Fitzwilliam Museum, Cambridge; Bolten 2007, nos. 1518 (recto) and 430 (verso). An even more intricate partition is seen in two landscape drawings with farm houses in the British Museum which, when joined together in horizontal registers, have a composite drawing of a tree on their joined verso’s, which originally may also have been twice as large at the lower end; Bolten 2007, nos. 1431 and 1432 (individual rectos), no. 1486 (combined versos)

Toon onderzoek Nederlandse tekeningen uit de vijftiende en zestiende eeuw
Toon catalogustekst Verberg catalogustekst

Alles over de maker

Abraham Bloemaert

Gorinchem 1566 - Utrecht 1651

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