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Jan Hackaert (1628-1685) - Wooded landscape
Jan Hackaert (1628-1685) - Wooded landscape - Paintings & Drawings Style Louis XIV Jan Hackaert (1628-1685) - Wooded landscape - Jan Hackaert (1628-1685) - Wooded landscape - Louis XIV Antiquités - Jan Hackaert (1628-1685) - Wooded landscape
Ref : 92290
22 000 €
Period :
17th century
Artist :
Jan Hackaert (Amsterdam, 1628-1685)
Provenance :
Medium :
Oil on canvas
Dimensions :
l. 20.87 inch X H. 24.02 inch
Paintings & Drawings  - Jan Hackaert (1628-1685) - Wooded landscape 17th century - Jan Hackaert (1628-1685) - Wooded landscape Louis XIV - Jan Hackaert (1628-1685) - Wooded landscape Antiquités - Jan Hackaert (1628-1685) - Wooded landscape
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Jan Hackaert (1628-1685) - Wooded landscape

"One of the paintings saved by Rose Valland during World War II: a painting with a story"

Jan Hackaert (Amsterdam, 1628-1685).
Wooded landscape, 61 x 53 cm.

Signature at the bottom, towards the center.

Jan Hackaert was born in Amsterdam in 1628 and baptized there on February 1, 1628.

A highly respected painter of the Dutch Golden Age, Jan Hackaert was renowned for his synthesis between the Italianate Dutch landscapes and the rocky and wooded panoramas of Switzerland. Unfortunately, little is known about his background and origins. Our most direct source comes from the Dutch "Vasari" of the Golden Age painters, the biographer Arnold Houbraken, who points to Hackaert's skill in creating landscapes, in particular "views of mountain caves in foreign lands" , inspired by his stay in Switzerland, between 1653 and 1656. According to Marjorie Wieseman, curator of Flemish and Dutch painting at the National Gallery in London, the attention paid by Hackaert to Switzerland reflects the interest of the Dutch in trade routes transalpines crossing this country.
The earliest dated paintings by Hackaert date back to 1657. In 1658, documents mention that the artist resides on the banks of the Keizersgracht [Emperor's Canal] in Amsterdam. Although some of his landscapes are inspired by Italian painters, there is no indication that he traveled to Italy. Hackaert was also greatly influenced by Jan Both, whose sensitivity he shared for idealized landscapes bathed in golden light. He was also inspired by the panoramic views of Jan Asselijn.
He collaborates on some works with many painters such as Nicolas Berchem and Adriaen van de Velde, where he paints the landscapes in the background.
He died in 1685 in Amsterdam.

Hackaert's work is nevertheless distinguished by its denser forests with slender trees, as seen here: the scene takes place in a thick forest, where the sun penetrating the foliage between the thin barrels of the trees creates rich light effects. ; tall ash trees surround a pond and are reflected in the water colored by the glow of the setting sun. On the right, a peasant leads a few sheep and a donkey to the shore, on which is perched a woman wearing a red skirt.

“Paysage boisé” has a prestigious history, having once belonged to French collectors:
Jules Porgès (1798-1870), man of great distinction, full of intuition and finesse, owner of the Hotel Porgès in Paris housing his famous collection of Flemish paintings including several canvases by Rubens, Van Dick, Rembrandt, Bruegel by Velours and Le Lorrain.
Adolphe Schloss (1842-1910), art collector born in Furth bei Landshut who chose French nationality in 1871, at the time of the Franco-Prussian conflict, and his wife, Mathilde Lucie Haas, bring together 333 works from the Netherlands which become a renowned collection even before the First World War. After the death of Adolphe Schloss in 1910, custody of the works fell to his wife Mathilde. In 1938, when he died, their children, Marguerite (1879-1959), Lucien, Henry and Juliette Schloss inherited it in joint possession. In order to protect the paintings, during the summer of 1939 the children decided to move the collection to a place called Le Chambon in Laguenne, not far from Tulle, on the property of the Dutch bank Jordan, which had rooms built there. strong in the basement of the time of the German invasion of 1914. In addition, the company Adolphe Schloss et fils was placed under the control of the receiver Alexandre-Paul Monnot des Angles, from November 1940, in the framework of the laws on the status of Jews under the Vichy regime.
On April 10, 1943, the Prefect of Corrèze Fernand Musso13 gave authorization to three officials from Vichy, including Jean-François Lefranc, Parisian expert in paintings, appointed administrator of high value Jewish property by Darquier de Pellepoix, commissioner general for questions Jews, to search the domain of Chambon. The information had been provided to the Vichy authorities by the driver who had transported the works in 193914. Musso and his gendarmes tried to delay the departure of the paintings, which were kidnapped by a German and two militiamen, belonging to the French Gestapo of the Lauriston Street. On April 16, 56 boxes were stored in a German barracks located in Limoges, then in the vaults of the Banque de France branch15. However, Abel Bonnard eventually authorized the German authorities to export them to Munich on November 27: in the meantime, the collection passed through the vaults of the Dreyfus bank in Paris and Bonnard had the Louvre preempted 49 paintings. Finally, 230 paintings left for the Hitler Museum and 22 for Goering's private collections. The remaining paintings were sold to a mysterious Dutch merchant named Buittenweg, i.e. 32 canvases16. A mystery remains on the fate of certain paintings. Thanks to the scrupulous notes of Rose Valland, who saw the said paintings arrive at the Jeu de Paume in November 1943, we know the inventory before leaving for Germany; she is also careful to note that the paintings intended for Goering were refused by him17.
This plunder is to be blamed on Bruno Lohse, head of the Einsatzstab Reichsleiter Rosenberg (ERR) and Erhard Goepel (1906-1966), official in the service of the Hitler museum in the “Dutch painting” section. Once in Munich, the paintings are recorded by Hermann Voss (1884-1969), chief curator of the said museum, part of whose premises were devastated by the Allied Armies in 1945.
After the war, all the works were considered lost but, gradually, 162 (including the 49 canvases in the Louvre from 1945) were returned to the beneficiaries, who will proceed to partial sales between 1949 and 1954, via the gallery. Charpentier (Paris), under the hammer of Maurice Rheims assisted by Robert Lebel.

The work was first described in 1926 by Dutch art historian and collector Hofstede de Groot in his Catalog raisonné of Flemish painters vol. 9 n ° 83. The painting is mentioned again in 1949 in the sales catalog of the collection of the late M. Adolphe Scloss, lot 21, pl. XIV, reproduced in black and white and described.

The painting was cleaned at the Taddei Davoli laboratory in Reggio Emilia.
It is accompanied by a diagnostic imaging report by specialist Alessandro Burani and a restoration report by Chiara Davoli.

The painting is presented in a 19th century Louis XV style frame. Photographs from the Adolphe Schloss collection show how much of his paintings were presented in the same frame model.

Jules Porgès Collection, Adolphe Schloss Collection

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17th Century Oil Painting Louis XIV