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©
Museo Nacional Thyssen-Bornemisza, Madrid
Jan Lievens

Landscape with the Rest on the Flight into Egypt

ca. 1640 - 1645
Oil on panel.
34.3 x 51.8 cm
Museo Nacional Thyssen-Bornemisza, Madrid
Inv. no.
222
(
1928.1
)
ROOM 26
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  
Lievens trained in his native city with Joris van Schooten and later in Amsterdam with Pieter Lastman. Between 1625 and 1631 he maintained close links with the young Rembrandt, possibly sharing a studio in Leiden where they worked together. As a result, their output of this date is extremely similar. Around 1635 Lievens is documented in Antwerp where he remained until 1644, after which he moved to Amsterdam where he lived until 1653. In Antwerp he became familiar with the work of Van Dyck, whose influence is evident in his portraits, as well as that of Rubens and Adriaen Brouwer. The influence of the latter is evident in his landscapes, the genre on which he focused at this time. The use of colour by these artists was also important for Lievens, as a result of which he lightened and softened his palette.

The present panel has been dated to the years between the end of his time in Antwerp and his move to Amsterdam and critics have noted that it is notably influenced by Rembrandt and Adriaen Brouwer. In the past this panel has been attributed to both those names. It was auctioned as a work by Brouwer in London in 1921, an attribution retained six years later when it was exhibited in Berlin. Shortly afterwards Wescher attributed it to the circle of Rembrandt while Bode attributed it to Lievens, as did Schneider.

Lievens offers a peaceful depiction of this biblical episode. Mary is seated on the ground holding the Christ Child in her arms while a patient Saint Joseph stands beside them leaning on the donkey’s flank. The composition is organised through the diagonal line of the river that starts in the foreground and leads the eye into the background until it reaches a city in the centre of the composition. The perspective is also reinforced by two rocky outcrops that impede the course of the river, over which is a rustic bridge that emphasises the pictorial depth. Lievens uses a horizontal format appropriate to landscapes and constructs the scene through the use of ochre tones in the rocks, ground and vegetation. Only the sky and the bright crimson of Mary’s dress stand out against the uniform tonality of this scene.

From the point of view of its date this panel has been compared to the background in the artist’s Self-portrait in the National Gallery, London, and with the panel of Tobias and the Angel in that gallery. Two further landscapes, one in the Gemäldegalerie, Berlin, and another in an unknown location have also served as reference points for a dating. Schneider emphasised the parallels between this background and various prints of landscapes.

Mar Borobia
17th Century17th Century - Dutch paintingPaintingOilpanel
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Landscape with the Rest on the Flight into Egypt. Paisaje con el descanso durante la huida a Egipto, c. 1640-1645
Landscape with the Rest on the Flight into Egypt
Jan Lievens

©

Museo Nacional Thyssen-Bornemisza, Madrid

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Landscape with the Rest on the Flight into Egypt. Paisaje con el descanso durante la huida a Egipto, c. 1640-1645
Landscape with the Rest on the Flight into Egypt
Jan Lievens

©

Museo Nacional Thyssen-Bornemisza, Madrid

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