{"id":28293,"date":"2024-10-30T17:56:14","date_gmt":"2024-10-30T16:56:14","guid":{"rendered":"https:\/\/www.carrerivegauche.com\/boutique-crg\/bergers-avec-un-troupeau-jan-frans-soolmaker\/"},"modified":"2024-10-30T18:04:22","modified_gmt":"2024-10-30T17:04:22","slug":"bergers-avec-un-troupeau-jan-frans-soolmaker","status":"publish","type":"product","link":"https:\/\/www.carrerivegauche.com\/fr\/boutique-crg\/bergers-avec-un-troupeau-jan-frans-soolmaker\/","title":{"rendered":"Bergers avec un troupeau, Jan Frans SOOLMAKER"},"content":{"rendered":"

Shepherds with a flock, Jan Frans SOOLMAKER<\/span><\/b><\/u><\/span><\/span><\/span><\/p>\n

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Dimensions: H 48 cm x L 64.5 cm<\/p>\n

Oil on canvas by the great Flemish painter Jan Frans Soolmaker (1635 – probably around 1686) whose paintings reflect an Italianate style often depicting shepherds and flocks or like an Arcadian scene.
Here, the painting presents in its center two characters surrounded by several animals in a pastoral landscape from which ancient ruins stand out in the background, and in the left part of the painting.<\/p>\n

To the right, a tree stands before us, both green and also dry and broken. The ground also appears arid, although greenery is present in the background.<\/p>\n

Soolmaker allows through this composition a natural harmony with an earthy yet peaceful color. The golden light of the sun is soft and warm and only a thick central cloud somewhat veils this open sky.<\/p>\n

The standing figure with a hat stands behind the donkey. He keeps a bunch of wood in a wicker basket on the donkey’s back. Only his head protrudes and we notice that it is the exact central point of the painting.<\/p>\n

In front of him, on his knees appearing to milk a goat, a young man looks at him. To his right and hidden in its shadow, a sleeping dog contrasts its dark coat with the goat whose light illuminates its white coat.<\/p>\n

A sheep is interested in a stream flowing in the foreground, while two other groups of two lounge behind him and to the right of the painting.<\/p>\n

We can notice, very subtly, a shepherd sitting on his mount, holding a long thin staff and leading at least three animals on the path through the mountainous landscape. This clearly demonstrates the work of details meticulously executed by this artist.<\/p>\n

As usual, Soolmaker depicts here a rural scene with a balanced composition characterized by a soft palette and a pictorial technique emphasizing the detail of animal textures.
Some of his works are part of large museum and private collections, such as his painting shepherdess with a flock of sheep, from the Hermitage Museum, entered the collections in 1915 of the collection of Pyotr Semenov-Tyan-Shansky, after his death in 1914.
Where we clearly find the same textural work of the animals, ground and leaf and a similar composition with a semi-arid landscape and a single cloud in the center<\/p>\n

Also by its presence in the collections of the Brussels Museum as mentioned in the \u201chistorical and descriptive catalog of old paintings from the Brussels Museum\u201d written by A-J WAUTERS, p. 39.<\/p>\n

Or in the Spanish national heritage collections with its lion hunt, formerly part of the collection of Queen Isabel Farnesio in the 18th century (inventory 10078534).<\/p>\n

Influenced by Flemish and Dutch Baroque artists, notably by Nicolaes Berchem, from whom he borrows the style of idealized pastoral scene, we also find in his paintings the Italian influence of the period.<\/p>\n

His work is thus part of the tradition of genre scenes and pastoral landscapes of 17th century Flemish art. This is why, the following century, its central scene was taken up by Karel La Fargue (1738-1793), whose drawing (in black chalk, gray wash and brown wash on yellow-orange paper) is today in the collections of the Geneva Museum of Art and History under inventory number 1912-493<\/p>\n

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Dimensions <\/strong>(sans cadre): <\/strong>H 48 cm x L 64,5 cm<\/p>\n

Huile sur toile du grand peintre flamand Jan Frans Soolmaker (1635- surement vers 1686) dont les peintures traduisent un style italianisant souvent figur\u00e9 de bergers et de troupeaux ou telle une sc\u00e8ne arcadienne.
Ici, la peinture pr\u00e9sente en son centre deux personnages entour\u00e9s de plusieurs animaux dans un paysage pastoral dont se d\u00e9tache en arri\u00e8re plan, et dans la partie gauche du tableau, des ruines \u00e0 l\u2019antique.<\/p>\n

A droite, un arbre se dresse devant nous, \u00e0 la fois verdoyant et \u00e9galement sec et cass\u00e9. Le sol parait par ailleurs, aride, bien que de la verdure soit pr\u00e9sente en arri\u00e8re plan.<\/p>\n

Soolmaker permet par cette composition une harmonie naturelle au couleur terreuse bien que paisible. La lumi\u00e8re dor\u00e9e du soleil est douce et chaleureuse et seul un \u00e9pais nuage central voile quelque peu ce ciel d\u00e9couvert.<\/p>\n

Le personnage debout avec un chapeau, se tient derri\u00e8re l\u2019\u00e2ne. Il maintien sur le dos de ce dernier une botte de bois dans un panier en osier. Seule sa t\u00eate d\u00e9passe et on remarque qu\u2019elle est le point central exact du tableau.<\/p>\n

Devant lui, \u00e0 genoux semblant traire une ch\u00e8vre, un jeune homme le regarde. A sa droite et cach\u00e9 dans son ombre, un chien endormi fait contraste de son pelage sombre avec la ch\u00e8vre dont la lumi\u00e8re illumine sa robe blanche.<\/p>\n

Un mouton s\u2019int\u00e9resse \u00e0 un cour d\u2019eau qui ruisselle en premier plan, pendant que deux autres groupes de deux se pr\u00e9lassent derri\u00e8re lui et \u00e0 droite de la peinture.<\/p>\n

Nous pouvons remarquer, de mani\u00e8re tr\u00e8s subtile, un berger assis sur sa monture, tenant un fin et long b\u00e2ton et menant au moins trois animaux sur le chemin \u00e0 travers le paysage montagneux. Cela d\u00e9montre bien le travail des d\u00e9tails minutieusement ex\u00e9cut\u00e9s par cet artiste.<\/p>\n

Comme \u00e0 son habitude, Soolmaker d\u00e9peint ici une sc\u00e8ne rurale \u00e0 composition \u00e9quilibr\u00e9e caract\u00e9ris\u00e9e par une palette douce et une technique picturale insistant sur le d\u00e9tail des textures animali\u00e8res.
Certaines de ses \u0153uvres font parties de grandes collections mus\u00e9ales et priv\u00e9es, telle que son tableau berg\u00e8re avec un troupeau de moutons<\/em>, du Mus\u00e9e de l\u2019Ermitage, entr\u00e9e dans les collections en 1915 de la collection de Piotr Semenov-Tyan-Shansky, apr\u00e8s son d\u00e9c\u00e8s en 1914.
Ou l’on retrouve nettement le m\u00eame travail textural des animaux, sol et feuille et une composition similaire avec un paysage semi aride et un unique nuage au centre<\/p>\n

Egalement par sa pr\u00e9sence dans les collections du mus\u00e9e de Bruxelles comme il est mentionn\u00e9 dans le \u00ab\u00a0catalogue historique et descriptif des tableaux anciens du mus\u00e9e de Bruxelles\u00a0\u00bb r\u00e9dig\u00e9 par A-J WAUTERS, p. 39.<\/p>\n

Ou encore dans les collections du patrimoine national espagnol avec sa chasse au lion, faisant anciennement partie de la collection de la Reine Isabel Farnesio au XVIIIe si\u00e8cle (inventarire 10078534).<\/p>\n

Influenc\u00e9 par des artistes baroques flamands et hollandais, notamment par Nicolaes Berchem, dont il emprunte le style de sc\u00e8ne pastorale id\u00e9alis\u00e9e, on retrouve \u00e9galement dans ses peintures l\u2019influence italienne de l\u2019\u00e9poque.<\/p>\n

Son travail s\u2019inscrit ainsi dans la tradition des sc\u00e8nes de genre et paysages pastoraux de l\u2019art flamand du XVIIe si\u00e8cle. C\u2019est pourquoi, le si\u00e8cle suivant, sa sc\u00e8ne centrale a \u00e9t\u00e9 reprise par Karel La Fargue (1738-1793), dont le dessin (en craie noire, lavis gris et lavis brun sur papier jaune-orange) est aujourd\u2019hui dans les collections du Mus\u00e9e d\u2019Art et d\u2019Histoire de Gen\u00e8ve sous le num\u00e9ro d\u2019inventaire 1912-493<\/p>\n

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