Catalogue entry no. 16 by William W. Robinson:
The second son of Pieter Bruegel the Elder (1999.132), Jan Brueghel the Elder was an astonishingly productive artist who served as court painter to Archduke Albert and Archduchess Isabella Clara Eugenia in Brussels. He specialized in floral still lifes and various types of landscapes, including mountainous panoramas, forest interiors, villages, country roads, river views, seascapes, hunting pieces, battles, and images of hell and the underworld. Many of his works contain numerous small figures enacting biblical, mythological, and allegorical subjects, as well as scenes of daily life.
Mountainous Landscape with Exotic Animals belongs to a group of drawings of forest interiors in a vertical format, which includes two autograph works by Pieter Bruegel the Elder and several copies and variants after those originals and related compositions by him that have not survived. Two of the variants—the Harvard work and Wooded Landscape with a Family of Bears, Deer, and Other Wild Animals (Fig. 1)—are attributable to Jan Brueghel. Inscriptions in the same handwriting on both sheets identify the elder Bruegel as author of the design and record its date, 1554. The annotation on Wooded Landscape with a Family of Bears, Deer, and Other Wild Animals, a composition freely adapted from one of the Bruegel originals that have survived, adds that Pieter produced the prototype in Rome. The Harvard Landscape with Exotic Animals is presumably also a variant of a drawing by Pieter Bruegel the Elder, but in this case the original is lost. Pieter Bruegel’s forest scenes of 1554 attest to the impact on his work of Venetian landscape art, particularly woodcuts after Titian, during the final year of his Italian sojourn.
The attribution to Jan Brueghel the Elder of Landscape with Exotic Animal and Wooded Landscape with a Family of Bears, Deer, and Other Wild Animals (see Fig. 1) was first proposed by Richard Day when Sotheby’s sold both sheets in the 1960s. Matthias Winner endorsed the idea in 1972, as did Hans Mielke (tentatively) in 1996, and Manfred Sellink in 2001. Winner noted that the inscriptions on these two sheets are very likely in Jan’s hand and in the same ink as the drawings. Examination of the Harvard sheet with infrared light supports his observation that inscription and drawing were executed in the same ink. While the technique of both works acknowledges that of Pieter’s originals, it also resembles the handling of Flooded Valley with Trees (Museum Boijmans Van Beuningen, Rotterdam), which bears an inscription by Jan and a partially truncated date that very likely reads 1593 (Fig. 2). Although Winner regarded Flooded Valley with Trees as a variant by Jan of a lost original by Pieter, Mielke more plausibly considered it an original composition by the younger artist. In attributing the Harvard work to Paul Bril, Louisa Wood Ruby discounted the crucial evidence of the pen work of the tree trunks and foliage in Jan’s Rotterdam drawing and Wooded Landscape with a Family of Bears, Deer, and Other Wild Animals, which is inseparable from that of Landscape with Exotic Animals and quite different from that of the works by Bril she cites for comparison. The year inscribed on the Rotterdam drawing suggests a date in the 1590s, during Jan’s sojourn in Italy (1589–96), for Landscape with Exotic Animals and Wooded Landscape with a Family of Bears, Deer, and Other Wild Animals.
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