Bequest of Josephine Bieber, in memory of her husband, Siegfried Bieber, 1970
On view at The Met Fifth Avenue in Gallery 638
Cuyp never went to Italy, but he emulated Dutch Italianate painters who had been there, above all Jan Both (ca. 1615/18–1652). Here the Holy Family’s route to Egypt seems to lead from Rhineland rocks and trees to an idyllic coast near Genoa.
Inscription: Signed (lower left): A:C
Mrs. Edward Romilly, London (until d. 1878; posthumous sale, Christie's, London, March 23, 1878, no. 128, for 290 gns. to Colnaghi); [Colnaghi, London, from 1878]; Étienne Martin, baron de Beurnonville, Paris (until 1881; his sale, Pillet, Paris, May 9–16, 1881, no. 247, as "Paysage, soleil couchant," for Fr 10,050 to Sedelmeyer); [Sedelmeyer, Paris, from 1881; cat., 1898, no. 10; sold to Kann]; Rodolphe Kann, Paris (by 1898–d. 1905; his estate, 1905–7; cat., 1907, vol. 1, no. 34; sold to Duveen); [Duveen, London and New York, 1907–15; their sale, American Art Association, New York, April 29, 1915, no. 9, for $4,000 to Knoedler]; [Knoedler, New York, 1915–27; sale, Christie's, London, July 8, 1927, no. 114, for £441 to Duits]; [Duits, London, from 1927]; [A. S. Drey, Munich, in 1931]; Mrs. Siegfried (Josephine) Bieber, Berlin and New York (until d. 1970)
New York. The Metropolitan Museum of Art. "The Age of Rembrandt: Dutch Paintings in The Metropolitan Museum of Art," September 18, 2007–January 6, 2008, no catalogue.
New York. Richard L. Feigen & Co. "Richard Wilson and the British Arcadia," April 29–June 25, 2010, no. 14.
W[illiam]. Roberts. Memorials of Christie's: A Record of Art Sales from 1766 to 1896. London, 1897, vol. 1, p. 300, gives the sale price at the Romilly sale as 290 guineas.
Illustrated Catalogue of 300 Paintings by Old Masters of the Dutch, Flemish, Italian, French, and English Schools. Paris, 1898, p. 19, no. 10, ill. p. 21, as "Landscape, Evening Effect," in the collection of Rodolphe Kann.
Wilhelm [von] Bode. Gemäldesammlung des Herrn Rudolf Kann in Paris. Vienna, 1900, p. IV, pl. 28.
Wilhelm [von] Bode. Gemälde-Sammlung des Herrn Rudolf Kann in Paris. Vienna, 1900, p. XV.
Émile Michel. "La Galerie de M. Rodolphe Kann (1er article)." Gazette des beaux-arts, 3rd ser., 25 (May 1901), p. 398, calls it a youthful work.
Catalogue of the Rodolphe Kann Collection: Pictures. Paris, 1907, vol. 1, pp. IX, 36, no. 34, ill. opp. p. 36.
Marcel Nicolle. "La Collection Rodolphe Kann." Revue de l'art ancien et moderne 23 (January–June 1908), p. 198, as a work of Cuyp's first manner.
Cornelis Hofstede de Groot. A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century. Ed. Edward G. Hawke. Vol. 2, London, 1909, p. 135, no. 442.
René Gimpel. Journal entry. October 8, 1910 [published in Ref. Gimpel 1966], writes that "Sir Edgar Vincent . . . came to see the Cuyp 'Flight into Egypt' from the Kann Collection, which has the most beautiful, most golden sunset created by art before Turner".
Jerrold Holmes. "The Cuyps in America." Art in America 18 (June 1930), p. 167, fig. 5, compares it with a larger version of the subject by Cuyp then in the collection of Charles T. Fisher, Detroit (now Los Angeles County Museum of Art).
René Gimpel. Diary of an Art Dealer. English ed. New York, 1966, p. 148, states that "this picture was almost completely destroyed in a fire on a French transatlantic liner en route to the United States".
John Walsh Jr. "New Dutch Paintings at The Metropolitan Museum." Apollo 99 (May 1974), p. 349, fig. 13, states that both the composition and the light reflect the work of Jan Both.
John Walsh Jr. and Cynthia P. Schneider. A Mirror of Nature: Dutch Paintings from the Collection of Mr. and Mrs. Edward William Carter. Exh. cat., Los Angeles County Museum of Art. Los Angeles, 1981, p. 43, fig. 4, under no. 10, note a third version by Cuyp of the subject, sold in Berlin in 1941, which they date to the late 1640s; date both the Los Angeles and New York versions to the early or mid-1650s.
Peter C. Sutton. A Guide to Dutch Art in America. Grand Rapids, Mich., 1986, p. 191, tentatively dates it to the early 1650s.
Ivan Gaskell. The Thyssen-Bornemisza Collection: Seventeenth Century Dutch and Flemish Painting. London, 1990, p. 446 n. 11, p. 447, fig. 2, under no. 105, notes the similarity of the MMA and Los Angeles paintings to "Evening Landscape" (Museo Thyssen-Bornemisza, Madrid; 1957.6); dates all three pictures to the early to mid-1650s.
Alan Chong. "New Dated Works from Aelbert Cuyp's Early Career." Burlington Magazine 133 (September 1991), p. 610 n. 32.
Alan Chong. "Aelbert Cuyp and the Meanings of Landscape." PhD diss., New York University, 1992, pp. 54, 348, no. 108.
Walter Liedtke. Dutch Paintings in The Metropolitan Museum of Art. New York, 2007, vol. 1, pp. 136, 140–42, no. 32, colorpl. 32, dates it about 1650.
Richard Wilson and the British Arcadia. Exh. cat., Richard L. Feigen & Co. New York, 2010, unpaginated, no. 14, ill. (color, overall and detail).
Artist: Aelbert Cuyp (Dutch, Dordrecht 1620–1691 Dordrecht)Date: ca. 1647–48Medium: Black chalk and moistened black chalk, gray wash (mainly in the clouds, water and sails), greenish yellow and grayish green wash (in the trees and under the houses at the left), and touches of brown chalk (in and under the houses at the left and on the large sailboat).Accession: 1975.1.768On view in:Not on view
Artist: Aelbert Cuyp (Dutch, Dordrecht 1620–1691 Dordrecht)Date: ca. 1640–42Medium: Black chalk and gray wash and graphite, watercolored in green and ochre yellow, partly brushed with gum arabic; framing lines in black inkAccession: 2005.330.4On view in:Not on view