The present painting is related stylistically to four panels attributed to Gillis van Coninxloo: two in the Schottenstift collection, Vienna (inv. nos 199 and 200),1 and two (with figures by Jan Brueghel) in the Pinacoteca Ambrosiana, Milan (both inv. no. 67).2 The idiosyncratic architecture in the centre of the present panel is also found in a painting by David Vinckboons, who was much influenced by Coninxloo, which sold in these Rooms, London, 9 December 2004, lot 116.
Coninxloo is arguably the most important landscape painter working in northern Europe during the second half of the 16th century, and a key member of two important schools: the Antwerp School, into which he was born, and the Frankenthal School, which he helped found. His move from Antwerp to Frankenthal, and ultimately to Amsterdam, belongs to a period when there was a mass migration of artists and other intellectuals, triggered by religious turmoil, which shifted the currents of artistic and cultural influence, and created new and flourishing channels of cross-pollination between Germany and the northern and southern Netherlands.
1 M. Czernin, Museum im Schottenstift, Vienna 2009, pp. 70–73, cat. nos 76 and 77, both reproduced.
2 K. Ertz and C. Nitze-Ertz, Jan Brueghel der Ältere, vol. II, Lingen 2008–2010, pp. 602–04, cat. nos 281 and 282, both reproduced.
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