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©
Carmen Thyssen Collection
Philips Koninck

Landscape with a Distant Town

ca. 1645 - 1646
Oil on panel.
20.5 x 28.6 cm
Carmen Thyssen Collection
Inv. no. (
CTB.1930.95
)
Not on display
  • Level 2 Permanent Collection
  • Level 1 Permanent Collection
  • Level 0 Carmen Thyssen Collection and Temporary exhibition rooms
  • Level -1 Temporary exhibition rooms, Conference room and EducaThyssen workshop
Level 2
Permanent Collection
1 2 3 4 5 6 7 8 9 10 11 12 14 13 15 16 17 18 22 19 20 21 23 24 25 26 27 28 29 Recommended start of the visitClassical rooms
1 14th Century. Early Italian Painting 2 15th Century. German and Spanish Painting 3 15th Century. Early Netherlandish Painting 4 15th Century. Italian Painting 5 15th and 16th Centuries. Renaissance Portraiture 6 16th Century. Villahermosa Gallery 7 16th Century. Italian Painting 8 15th and 16th Centuries. German Painting 9 15th and 16th Centuries. German Painting 10 16th Century. Netherlandish Painting 11 Tiziano, Tintoretto, Bassano and  El Greco 12 17th Century. Caravaggio and Baroque Painting 13 17th Century. Italian, French and Spanish Painting 14 17th Century. Italian, French and Spanish Painting 15 17th Century. Italian, French and Spanish Painting 16 18th Century. Italian Painting 17 18th Century. Italian Painting 18 18th Century. Italian Painting 19 Classical rooms 20 Classical rooms 21 Classical rooms 22 18th Century. Italian Painting 23 17th Century. Dutch Painting. Landscape 24 18th Century. French and English Painting 25 17th Century. Dutch Painting. Scenes of Daily Life and Interiors 26 17th Century. Dutch Painting. Landscape 27 17th Century. Dutch Painting. Portrait 28 17th Century. Dutch Painting. Landscape 29 19th Century. European Painting. Goya and Romanticism  
Level 1
Permanent Collection
30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 Postpop rooms Rodin room
30 18th and 19th Centuries. Transatlantic Relations 31 19th Century. American Landscape and Environmental Awareness 32 19th Century. American Landscape and Urban Life 33 Recovering the ligth. Restoration of Waterloo Bridge, by André Derain 34 20th Century. Expressionist Landscapes 35 20th Century. Expressionist Portraits 36 20th Century. The Language of the Body 37 20th Century. Urban unrest 38 20th Century. Flowers 39 20th Century. Pioneers of abstraction 40 20th Century. Popular flavor 41 20th Century. The Cubist Tradition I 42 20th Century. The Cubist Tradition II 43 20th Century. Abstract Utopias 44 20th Century. Dada and Surrealism 45 20th Century. Interwar Realisms 46 20th Century. American Abstraction I 48 20th Century. Post-ward American Art 49 20th Century. Post-ward European Figurative Art 50 20th Century. Informalisms 51 20th Century. Homo Ludens 52 20th Century. Pop Art 53 Postpop rooms 54 Postpop rooms 55 Postpop rooms 56 Postpop rooms Rodin Exhibition room
Level 0
Carmen Thyssen Collection and Temporary exhibition rooms
A B C D E F G H I J Hall Temporary exhibition rooms Access to Permanent Collection Entrance Access to Carmen Thyssen Collection Paseo del Prado Garden
A 17th and 18th Centuries. Old Masters B 19th Century. North American Landscape C 19th Century. French Naturalist Landscape D 19th Century. Impressionism E 19th Century. Monet and North American Impressionism F 19th Century. Gauguin and Postimpressionism G 19th and 20th Centuries. Neo Impressionism and its Wake H 20th Century. Early Avant-gardes I 20th Century. Between the Wars Painting. Cubism, Abstraction and Surrealism J 20th Century. North American Painting and Others • HALL
Level -1
Temporary exhibition rooms, Conference room and EducaThyssen workshop
Temporary exhibition rooms Conference room EducaThyssen Workshop
For much of its known history this small panel was attributed unquestioningly to Rembrandt van Rijn. Rembrandt's activity as a landscape painter appears to have been confined largely to a period during the later 1630s and is limited to a small and, thanks to re-attribution, ever declining number of works. As early as 1854 Kolloff warned against the tendency to attribute landscapes erroneously to Rembrandt. The present work has been read repeatedly in terms of the "pathetic fallacy" by which such landscapes were interpreted as symptomatic of a melancholic poetic vision associated with Rembrandt. A combination of emotional stereotyping, surface dirt, discoloration and damage, commercial interest and deference to both owners and earlier authors inhibited disinterested examination of the panel.

The support is of unusually poor quality when compared with those used by Dutch painters of good repute. It was not cut square to the grain and has warped on the right. As early as 1893 Michel noted the pictorial discordances of the picture, characterizing it as an accumulation of rather disparate details. Even allowing for deterioration of glazes and losses owing to over-cleaning, and while bearing in mind the subjective nature of qualitative judgements, the painting can nonetheless be said to exhibit many shortcomings of spatial organization and draughtsmanship. This was stated unequivocally by Van Dyke who was the first scholar publically to deny Rembrandt's authorship of the panel, assigning it to an unidentified pupil. The name of Philips Koninck was first mentioned in connection with this panel by Cook in 1899, an observation elaborated by Gerson in 1936 who noted affinities between the present panel (amongst others attributed to Rembrandt), the panoramic landscape experiments of Jan van Goyen in the 1640s and Koninck's early works. Gerson attributed the present work to Koninck first in 1953, repeating his opinion in 1956 and finally devoting a paper to it in 1965, since when his view has not been seriously questioned.

Koninck, trained by his brother Jacob in Rotterdam, was probably never actually a pupil of Rembrandt, though he most likely studied Rembrandt's landscapes after his return to Amsterdam in or shortly after 1640. Nothing certain is known of his painting career until 1647, the date on a signed panel in London with which the present work can be compared. Other early works suggest that, like Rembrandt, he studied the art of Hercules Segers and the division of the receding landscape into alternating light and dark bands in the present panel may have been derived directly from Segers's example. Gerson's proposed date of about 1645 has been accepted by recent commentators, so the present work has been placed as the earliest of a group of comparable landscapes.

Ivan Gaskell

17th Century17th Century - Dutch paintingPaintingOilpanel
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Landscape with a Distant Town

Landscape with a Distant Town

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Poster Richard Estes: People's Flower

Poster Richard Estes: People's Flower

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German Expressionism from the Baron Thyssen-Bornemisza Collection exhibition catalogue (Spanish with English booklet)

German Expressionism from the Baron Thyssen-Bornemisza Collection exhibition catalogue (Spanish with English booklet)

30.00 € 28.51 €

Alex Katz (exhibition catalog. Spanish with texts in English)

Alex Katz (exhibition catalog. Spanish with texts in English)

32.00 € 30.40 €

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Private and/or didactic use
Landscape with a Distant Town. Paisaje con ciudad lejana, c. 1645-1646
Landscape with a Distant Town
Philips Koninck

©

Carmen Thyssen Collection

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Landscape with a Distant Town. Paisaje con ciudad lejana, c. 1645-1646
Landscape with a Distant Town
Philips Koninck

©

Carmen Thyssen Collection

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