This animated scene stands in opposition to the grand, classical tradition represented by Poussin, Claude, and Bourdon. The picture is ascribed to Jan Miel, who moved to Rome in the 1630s. He specialized in scenes of contemporary life referred to as bambocciate, after the nickname of the creator of the genre, Pieter van Laer. Although Miel's work stands in contrast to the premise of classical landscapes, he is known to have collaborated with Gaspard Dughet and it has been suggested that the landscape in this picture was painted by Dughet with the figures added by Miel.
Federico Zeri. Letter to Everett Fahy. August 28, 1971, attributes it to Cerquozzi, possibly with the assistance of Angeluccio.
Thomas Kren. "Jan Miel (1599–1664), a Flemish Painter in Rome." PhD diss., Yale University, 1978, vol. 1, pp. 87–90, 93–94; vol. 2, pp. 96–98, no. A78; vol. 3, pls. LXXIV–LXXIVa (overall and detail), attributes the figures to Miel and the landscape to Dughet; dates it approximately between 1642 and 1645.
Marcel Roethlisberger. Letter to Keith Christiansen. August 4, 1980, judging from a photograph, doubts the participation of Dughet, but suggests that the entire picture may be by Miel.
Walter Liedtke. "Toward a New Edition of Flemish Paintings in the Metropolitan Museum of Art." Munuscula Amicorum: Contributions on Rubens and His Colleagues in Honour of Hans Vlieghe. Ed. Katlijne van der Stighelen. Vol. 2, Turnhout, Belgium, 2006, pp. 672, 677 n. 18, fig. 6.
Matteo Mazzalupi inPittori ad Ancona nel Quattrocento. Ed. Andrea De Marchi and Matteo Mazzalupi. Milan, 2008, pp. 262, 272 n. 171, gives information on the Brancaccio family, and notes that the princess's Flemish landscapes were restored by the painter Vincenzo Podesti.
The landscape may be by another, possibly Roman, artist.
This picture was lent to the Museum in 1893 by Princess Brancaccio (Elizabeth Hickson Field) through McKim, Meade & White, as "Classical Landscape" by Poussin and Cerquozzi.
Artist: Jan Miel (Flemish, Beveren 1599–1664 Turin)Date: early 17th–mid 17th centuryMedium: Black and white chalks, brush and gray ink on brown paper; framing line in pen and brown inkAccession: 2014.85On view in:Not on view