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拍品专文
Nous pouvons comparer ce dessin à d’autres paysages de l’artiste, notamment celui daté 1609 conservé au Kunstsammlungen und Museen Augsburg (H. Geissler, Zeichnung in Deutschland. Deutsche Zeichner 1540-1640, cat. exp., Stuttgart, Staatsgalerie Stuttgart, Graphische Sammlung, 1979-1980, I, n° F 33, ill.). Actif à Augsbourg, Schorer semble avoir principalement travaillé comme dessinateur, souvent d’après des compositions d'autres artistes (voir S. Alsteens, Dürer and Beyond. Central European Drawings in The Metropolitan Museums of Art, 1400-1700, cat. exp., New York, The Metropolitan Museum of Art, 2012, pp. 196-198).
In its Netherlandish-inspired style and manner of dating, this drawing can be compared to other landscapes by the artist, for instance one dated 1609 at the Kunstsammlungen und Museen Augsburg (H. Geissler, Zeichnung in Deutschland. Deutsche Zeichner 1540-1640, exhib cat., Stuttgart, Staatsgalerie Stuttgart, Graphische Sammlung, 1979- 1980, I, no. F 33, ill.). Schorer, who was active in Augsburg, seems to have mainly worked as a draughtsman, often after compositions by other artists (see S. Alsteens in Dürer and Beyond. Central European Drawings in The Metropolitan Museum of Art, 1400-1700, exhib. cat., New York, The Metropolitan Museum of Art, 2012, pp. 196-198).
In its Netherlandish-inspired style and manner of dating, this drawing can be compared to other landscapes by the artist, for instance one dated 1609 at the Kunstsammlungen und Museen Augsburg (H. Geissler, Zeichnung in Deutschland. Deutsche Zeichner 1540-1640, exhib cat., Stuttgart, Staatsgalerie Stuttgart, Graphische Sammlung, 1979- 1980, I, no. F 33, ill.). Schorer, who was active in Augsburg, seems to have mainly worked as a draughtsman, often after compositions by other artists (see S. Alsteens in Dürer and Beyond. Central European Drawings in The Metropolitan Museum of Art, 1400-1700, exhib. cat., New York, The Metropolitan Museum of Art, 2012, pp. 196-198).