Art/ Collection/ Art Object

Imaginary Landscape

Gaspard Dughet (French, Rome 1615–1675 Rome)
Oil on canvas
37 7/8 x 60 1/2 in. (96.2 x 153.7 cm)
Credit Line:
Rogers Fund, 1908
Accession Number:
Not on view
Gaspard Dughet was Poussin’s brother-in-law. He learned to paint from him and was also later, confusingly, known as "Gaspard Poussin." His landscapes are usually wilder versions of Poussin’s classical visions, closer in temperament to the paintings of Salvator Rosa, with rocky outcrops and blasted trees.
H. A. J. Munro, Novar, Scotland (by 1839?–at least 1854); Sir James Knowles, Queen Anne's Lodge, London (until 1908; his sale, Christie's, London, May 27, 1908, no. 417, for £44 to Carfax); [Carfax, London, 1908]
London. British Institution. 1839, no. 155 (as "Landscape with Figures," by Gaspar Poussin, lent by H. J. Munro, Esq., possibly this picture).

Baltimore. Johns Hopkins University. "Landscape Painting from Patinir to Hubert Robert," November 17–December 7, 1941, no. 50 (as "Landscape with Mythological Figures").

Wooster, Ohio. Josephine Long Wishart Museum of Art. "Exhibition of Paintings of French, Italian, Dutch, Flemish and German Masters, lent by The Metropolitan Museum of Art," October 20–December 15, 1944, unnumbered cat. (p. 6).

Little Rock. Arkansas Arts Center. "Five Centuries of European Painting," May 16–October 26, 1963, unnumbered cat. (p. 29).

New York. Richard L. Feigen & Co. "Richard Wilson and the British Arcadia," April 29–June 25, 2010, no. 17.

[Gustav Friedrich] Waagen. Treasures of Art in Great Britain. London, 1854, vol. 2, p. 133, mentions this painting as a work of Gaspard Poussin [Dughet] in the collection of H. A. J. Munro.

R[oger]. E. F[ry]. "Principal Accessions: A Landscape by Gaspar Dughet, called Gaspar Poussin." Metropolitan Museum of Art Bulletin 3 (November 1908), p. 209, describes it as among the artist's better works.

Charles Sterling. The Metropolitan Museum of Art: A Catalogue of French Paintings. Vol. 1, XV–XVIII Centuries. Cambridge, Mass., 1955, pp. 80–81, ill., dates it about 1645–55, calling it characteristic of the artist's mature period.

Five Centuries of European Painting. Exh. cat., Arkansas Arts Center. Little Rock, 1963, p. 29, ill.

Pierre Rosenberg. France in the Golden Age: Seventeenth-century French Paintings in American Collections. Exh. cat., The Metropolitan Museum of Art. 1982, p. 353, no. 9, ill. [French ed., La peinture française du XVIIe siècle dans les collections américaines, Paris, 1982].

John Pope-Hennessy. "Roger Fry and The Metropolitan Museum of Art." Oxford, China, and Italy: Writings in Honour of Sir Harold Acton on his Eightieth Birthday. Ed. Edward Chaney and Neil Ritchie. London, 1984, p. 234.

Marie-Nicole Boisclair. Gaspard Dughet: Sa vie et son oeuvre (1615–1675). Paris, 1986, p. 224, no. 165, fig. 203, calls it "Paysage Idéalisé" and dates it 1657; mentions related drawings in the Kupferstichkabinett, Staatliche Museen, Berlin, and in a private collection, New York (figs. 204 and 205, respectively); suggests this was the picture exhibited as no. 155 at the British Institution in 1839.

Richard Wilson and the British Arcadia. Exh. cat., Richard L. Feigen & Co. New York, 2010, unpaginated, no. 17, ill. (color).

Caroline Elam in Cézanne and the Past: Tradition and Creativity. Exh. cat., Szépmüvészeti Múzeum. Budapest, 2012, pp. 174, 510 n. 101.

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