Jan Breughel the Younger

A superbly refined landscape gouache like this sits firmly in a Flemish tradition that grew out of manuscript and miniature painting, and flowered in the works of artists such as Hans Bol, working at the end of the 16th and beginning of the 17th century. All the same, this was a medium that the Jan Brueghels, Elder and Younger, only very rarely employed, which is a little surprising as their elegant, minute technique would seem to be perfectly suited to the painting of perfect gouaches. The rather extensive and relatively free black chalk underdrawing, visible especially in the foreground, is another indication that this is the work of an artist who was more accustomed to working in other media, as this method of preparation is not often evident in gouache 'cabinet miniatures' of this type. 

The composition does not correspond with that of a known painting by either Brueghel, which is perhaps not surprising, given that a work such as this would surely have been made as an independent, originally conceived picture for the market, rather than as a study for or version of another work. That said, perhaps the closest comparison to be found, in terms of technique, is a gouache by Jan Brueghel the Elder, in Berlin, which is an autograph replica of an oil on copper in Turin.¹ In terms of refinement and quality, the present gouache is by no means inferior to the one in Berlin, and the possibility should be seriously considered that it is in fact by Jan Brueghel the Elder (1568-1625), rather than by his rather less brilliant son, to whom it has traditionally been attributed.  

An exceptional, lively composition, and extremely well preserved, this rare gouache captures all the spirit and technical brilliance of the Brueghel dynasty, and their unique approach to landscape.  

1. T. Gerszi and L. Wood Ruby, Jan Brueghel, A Magnificent Draughtsman, exh. cat., Antwerp, Snijders&Rockox House, 2019-20, pp. 64-6, cat. 19b