LANDSCAPE AND MEMORY
- d'Onofri, Landscape with Battus
- after Brueghel, Alpine Landscape
- School of Antwerp, Imaginary Landscape
- Sadeler, Facade of a Temple
- van Noort, Landscape with the Temple
- Davent, Landscape with Ancient Ruins
- att. to Pozzoserato, Mountainous Landscape
- van de Velde II , Interior of the Ruins
- Waterloo, Two Travelers
- Grimaldi, Landscape
- Saftleven, Landscape with a Man
- Barrière, View of the Town
- Monti, Landscape with a River
- Meyeringh, Landscape with Mercury
- Bout, The Skaters
- Lelu, A Town in Portugal
- Dietricy, Heroic Landscape
- Le Loup , View of the Town
- att. to Verrijk , River Scene
- Kolbe, Landscape with a Cowherd
- Roos, Vast Mountainous Landscape with Herds
- Roman School, Lago d’Albano,
- Isabey, Ruines du Château
- Williams, A Part of Melrose Abbey
- Palmer, The Morning of Life
- Richardson, Loggers by a Lake
- att. to Preller, Oak Trees
- Lalanne, Plage des Vaches
- Miller, A Road in Winter
- Haden, Sunset in Ireland
- Doeleman, Stormy Sky
- Meryon, Nouvelle Zélande
- Latenay, Autumn Trees
- German School, Birches
- Cameron, Ben Lomond
- Yeats, July 4, 1908
- MacLaughlan, Rossinières
- Cotton, Spring Landscape
- Legros, Une Vallée
- Torre-Bueno, Farmlands
- Jungnickel, Loser - Altaussee
- Komjati, Willows
- Wengenroth, Bucks County
- Kantor, Abstracted Landscape
- Eby, Christmas Trees
- Massen, Landscape with Trees
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2. after Pieter Brueghel, the Elder (ca. 1525-1569) Alpine Landscape Traversed by a Deep Valley |
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(click on image to print)
![after Brueghel, Alpine Landscape after Brueghel, Alpine Landscape](/Exhibitions/10796_bg.jpg)
Alpine Landscape Traversed by a Deep Valley
Etching and engraving, Bastelaer 9, Hollstein 6 only state, 314 x 418 mm., ex collection: J.P.M. or F.P.M. (not in Lugt). Fine, clear impression with only a few touches of dry printing in the heavily shaded areas, on laid paper with a fragmentary watermark, trimmed just outside the borderline and just into the blank plate margin at the base.
Brueghel crossed the Alps on his way to Italy in 1552 and again, two years later, on his return. The memory never left him. He brought to his drawings (with a single exception, all “Brueghel prints” were engraved by others after his drawings) a part of the world previously not known to art, based not on tradition or artistic precedent, but on nature itself. Though imaginative in execution and certainly not topographically exact depictions of particular places, his landscape prints and drawings carry the memory of his visual experience: the mountains, gorges, trees and hilltop towns so exotic to a lowlander. The print was published by Hieronymus Cock, as one of twelve large landscapes, and bears his name. Precisely who engraved it, though, is still a matter of conjecture.