Adam Pynacker Schiedam near Rotterdam 1620 (?) - 1673 Amsterdam

The catalogue illustration is quite representative of the actual painting, although the actual painting is slightly less red in tone. The panel seems to consists of two planks, joined horizontally, and is bevelled to all sides. Small strips of wood are attached to all sides, probably to fit the frame. The panel is slightly bowed. The paint surface seems to be in good condition, although has grown slightly thin in the green and brown tones. There is one diagonal surface scratch of approximately 8 cm. to the lower left. A small horizontal crack of approximately 4 cm. can be seen along the join along the left edge. A few discoloured retouchings can be seen in the sky, along the join and in the lower left corner. The paint surface is under a slightly dirty varnish layer as well as under a fine layer of dirt. Inspection under ultra violet light reveals retouchings along the join and a few scattered retouchings in the sky. Small retouchings are furthermore revealed, e.g. in the animals, in the figures, in the foliage to the right, as well as in the lower centre. Offered in an ebonised cabinet style wood frame, in good condition. (ML/MW)
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Although there are no records of his travels to Italy, it seems most likely that Pynacker spent some time there between 1645 and 1648. There he developed a predilection for the Roman campagna, the setting for virtually all his compositions. The strong contre-jour effect is one of the striking elements of this work, silhouetting the standing shepherd and highlighting the fur of the goats. The way the light smoothly touches the red poppy in the centre attests to Adam Pynacker's great handling of colour. The painting belongs to the artist's early output and shows the influence of Pieter van Laer and consequently, Jan Both's so called "Bamboccianti-style".¹

1.See Laurie B. Harwood, Adam Pynacker, Doornspijk 1988, p.25-26.