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拍品專文
With its charming naïveté the present summer scene is a typical example of Abel Grimmer's art. In paintings such as the present one, Abel continued the successful landscape formula invented by his father and teacher Jacob Grimmer (c. 1525/6-1589/1609). The Grimmers specialized in small landscapes and their paintings often constitute sets of the 'Four Seasons', as is the case with the present work, or the 'Twelve Months of the Year'.
Both father and son favoured the tondo shape. These circular paintings owe their popularity to the unmistakably decorative effect, to which their distinctly schematic layout contributes as well. However, on close inspection, they are surprisingly sophisticated in terms of composition and colouring. This is beautifully demonstrated in the present painting, which, dated 1611, is a mature production of the artist. Grimmer cleverly exploits the round format to create a varied composition with a convincing sense of space and atmosphere, and replete with lively detail. The view accommodates a veritable fête champêtre on the verdant slope in the foreground, followed by middle zone with a castle in a pond and a gondola approaching. A sandy road emerges beyond, the shallow curve it makes past a farmhouse faintly echoing the round outlines of the painting. Clumps of lush green trees and hills further harmoniously balance the composition.
Bertier de Sauvigny (op.cit.) lists another, unsigned version of this composition on panel 12 cm. diam. (no. 15, p. 263 and reproduced in colour on p. 344, pl. 87).
Both father and son favoured the tondo shape. These circular paintings owe their popularity to the unmistakably decorative effect, to which their distinctly schematic layout contributes as well. However, on close inspection, they are surprisingly sophisticated in terms of composition and colouring. This is beautifully demonstrated in the present painting, which, dated 1611, is a mature production of the artist. Grimmer cleverly exploits the round format to create a varied composition with a convincing sense of space and atmosphere, and replete with lively detail. The view accommodates a veritable fête champêtre on the verdant slope in the foreground, followed by middle zone with a castle in a pond and a gondola approaching. A sandy road emerges beyond, the shallow curve it makes past a farmhouse faintly echoing the round outlines of the painting. Clumps of lush green trees and hills further harmoniously balance the composition.
Bertier de Sauvigny (op.cit.) lists another, unsigned version of this composition on panel 12 cm. diam. (no. 15, p. 263 and reproduced in colour on p. 344, pl. 87).