Object data
oil on paper, laid down on panel
support: height 14.1 cm × width 18.3 cm
outer size: height 28.7 cm × width 33.2 cm × depth 4.1 cm (support incl. frame)
François Boudewyns
Wooded Italianate Landscape with Figures
c. 1750
Inscriptions
- signature, bottom right: f:baudewyn / fecit
Scientific examination and reports
- technical report: M. van de Laar, RMA, 31 August 2006
Provenance
…; the dealer C.F. Roos; from whom, fl. 20, to the museum, February 18851
Object number: SK-A-986
Copyright: Public domain
The artist
François Boudewyns (Brussels 1682 - Brussels 1767)
François Boudewyns (Baudewijns/Bauduin), a landscape specialist chiefly known for his drawings, was the son of Adrien-François Boudewyns (1644-1719) and his second wife Isabelle Remacle; he was baptized in the Sint-Gorikskerk, Brussels, on 6 October 1682. He became a master in the guild of St Luke on 27 November 1720, a year after the death of his father, and was buried in the Onze-Lieve-Vrouwe-ter-Kapellekerk, Brussels, 5 July 1767.
REFERENCES
G. de Lannoy, ‘Un regard neuf sur Adrien-François Boudewijns (1644-1719) et son fils François (1682-1767)’, Bulletin der Koninklijk Musea voor Schone Kunsten van België/Bulletin Musées Royaux des Beaux-Arts de Belgique 43-44 (1994-95), pp. 125-52, esp. pp. 140ff.
Entry
This landscape was acquired as by Adrien-François (Adriaen-Frans) Boudewyns (1644-1719), which attribution remained unchanged until 1987, when Thiéry and Kervyn de Meerendré,2 on the basis of a comparison with a drawing thought to be of 1737 in the Koninklijke Musea voor Schone Kunsten van België, Brussels, mistakenly assigned it to the younger Adrien-François Boudewyns, who became a pupil of his homonymous uncle on 10 March 1694. Duverger supported this reattribution.3 However, the Rijksmuseum landscape is signed with the single initial F (as is the drawing to which Thiéry and Kervyn de Meerendré referred) which points to François and not to his cousin Adrien-François, by whom no signed works are known. On this basis De Lannoy has identified François as the artist responsible for it.4 Only one other painting – in fact a pair – by François is known to De Lannoy. But a number of drawings by him are comparable in spirit and are signed in a similar way.5
François seems to have worked in the idiom of the prints designed by his father6 and his erstwhile colleague Abraham Genoels (1640-1723).7
The support of west German or Netherlandish oak would have been ready for use from 1640 or more plausibly from ten years later.
Gregory Martin, 2022
Literature
G. de Lannoy, ‘Un regard neuf sur Adrien-François Boudewijns (1644-1719) et son fils François (1682-1767)’, Bulletin der Koninklijke Musea voor Schone Kunsten van België/Bulletin Musées Royaux des Beaux-Arts de Belgique 43-44 (1994-95), pp. 125-52, and note 86
Collection catalogues
1886, p. 102, no. 450a (as Adriaen Frans Boudewijns); 1887, p. 9, no. 61 (as Baudewijns); 1903, p. 41, no. 438 (as Baudewijns); 1976, p. 138, no. A 986 (as Adriaen Frans Boudewijns)
Citation
G. Martin, 2022, 'François Boudewyns, Wooded Italianate Landscape with Figures, c. 1750', in Flemish Paintings in the Rijksmuseum, online coll. cat. Amsterdam: hdl.handle.net/10934/RM0001.COLLECT.6202
(accessed 10 November 2024 04:07:43).