Circle of Jakob de Heusch (Utrecht, 1657- Amsterdam, 1701), Italian Landscape with Wayfarers

Circle of Jakob de Heusch (Utrecht, 1657- Amsterdam, 1701)

Italian landscape with wayfarers

Oil on canvas, 87.4 x 121.5 cm

With frame, 97.5 x 130 cm

Provenance: Acquired by Professor Michael Kauffmann (1931-2023) in Brighton, circa 1960

Nephew of Willem de Heusch, he was trained by him in the art of landscape painting. In January 1675 he is mentioned for the first time as a member of the Schildersbent, the painters' guild, with the pseudonym of Affdruck (copyist) because his style was so similar to that of his uncle Willem. A clear evolution in his artistic career coincides with his extended stay in Rome. It is not known how long de Heusch stayed in Rome, but certainly not a short time, given that in 1696 he worked in Venice for the secretary Lucatelli and his works feature landscape motifs taken from Rome and its surroundings. In 1699, the artist returned to Utrecht where he died two years later.

Jacob de Heusch belongs to the generation of Dutch artists who visited Rome, for varying periods of time, in the last quarter of the 17th century. Unlike the Bamboccianti of the previous generation, including Johannes Lingelbach, who were mainly interested in the life of the people in the cities of Lazio, these artists were instead attracted by the Roman landscape and its countryside, as immortalized by Claude Lorrain and Gaspard Dughet. They made sketches of the most interesting views and buildings seen during their walks. Most of these artists, including Jacob de Heusch, then used these sketches to create paintings of ideal landscapes, in the style of the masters mentioned above.

Most of de Heusch's works are freely conceived landscapes, containing topographical motifs in a style reminiscent of Gaspard Dughet and the baroque compositions of Salvator Rosa, with groups of figures in the foreground and effective architectural effects that probably influenced the works of the young Luca Carlevarijs.

In this painting from the workshop of de Heusch, several key characteristics of the master's production are evident: one can perceive how the Flemish master looks to the style of Salvator Rosa, which however is lightened and softened, endowing it with serene and idyllic features. A warm light envelops the scene and vivid and dazzling colours envelop the figures, with a dynamic appearance and marked physiognomic characterization.