拍品專文
The Dutch Romantic artist Pierre Louis Dubourcq (1825-1873), pupil of Andries Schelfhout, was an ardent traveller. He visited Germany, France, Switzerland, England and foremost Italy. In 1843-44 he sojourned in Italy together with his fellow artist Willem Bodeman in places like Rome, Florence, Terni, Tivoli, Odevano and Massa. Most of his drawings mention the location and the date. He also kept a diary of his Italy-trip in which he noted down simple observations of daily events but no important art-historical reflections of for instance how to paint the beautiful scenery. In the art magazine Kunst (1844/45, no. 60), Dubourcq published a letter in which he wrote: ik heb zeer weinig reisavonturen gehad, zelfs is niet eenmaal een as gebroken...; geen roovers hebben mij aangevallen of op mij gemikt...; de buffels en de ossen zijn zeer beleefd voor mij geweest...; de italiaanse dolken of stilets heb ik gezien noch gevoeld ...; kortom, ik heb die 2 jaren gelukkig en vrolijk geleefd, verkwikt door de rijkste bron voor een landschapschilder, de bron, waaruit onze oude landschapschool van de 17e eeuw heen schoon koloriet, fijnen toon, treffende en grootsche compositie geput heeft..."
The present group of 32 Italian drawings are characteristic for Dubourcqs varied use of hatching and angular lining: they are executed in pencil and are carried out in a delicate and realistic manner. Allthough already assimilated in the Romantic Movement, Dubourcqs Italian drawings can be seen as significant examples within the tradition of the Grand Tour. They give us a good impression of the route of a travelling painted through the Italian countryside.
From his diary we learn that he sent home a box with 106 drawings of landscapes, 46 figurestudies on paper and 47 oil studies. Numerous of these drawings are kept in the Rijksmuseum, Amsterdam and the Booymans van Beuningen museum in Rotterdam. Via Florence, Venice, Munich and Paris he returned to Amsterdam on 18 December 1844.
See colour illustration and illustrations
The present group of 32 Italian drawings are characteristic for Dubourcqs varied use of hatching and angular lining: they are executed in pencil and are carried out in a delicate and realistic manner. Allthough already assimilated in the Romantic Movement, Dubourcqs Italian drawings can be seen as significant examples within the tradition of the Grand Tour. They give us a good impression of the route of a travelling painted through the Italian countryside.
From his diary we learn that he sent home a box with 106 drawings of landscapes, 46 figurestudies on paper and 47 oil studies. Numerous of these drawings are kept in the Rijksmuseum, Amsterdam and the Booymans van Beuningen museum in Rotterdam. Via Florence, Venice, Munich and Paris he returned to Amsterdam on 18 December 1844.
See colour illustration and illustrations