Circle of Jakob de Heusch (Utrecht, 1657- Amsterdam, 1701), Italian Landscape with Travelers

Circle of Jakob de Heusch (Utrecht, 1657- Amsterdam, 1701) Italian Landscape with Travelers Oil on canvas, 87.4 x 121.5 cm Framed, 97.5 x 130 cm Provenance: acquired by Professor Michael Kauffmann (1931-2023) in Brighton, around 1960 Nephew of Willem de Heusch, he was instructed in the art of landscape painting by him. In January 1675, he is mentioned for the first time as an affiliate of the Schildersbent, the painters' guild, with the pseudonym Affdruck (copyist) for his style so similar to that of his uncle Willem. A clear evolution in his artistic path coincides with his extended stay in Rome. It is not known how long de Heusch had stayed in Rome, but certainly not a short time, given that in 1696 he was working in Venice for the secretary Lucatelli and landscape motifs taken from Rome and its surroundings appear in his works. In 1699, the artist returned to Utrecht where he died two years later. Jacob de Heusch belongs to the generation of Dutch artists who visited Rome, for varying periods of time, in the last quarter of the 17th century. Unlike the Bamboccianti of the previous generation, including Johannes Lingelbach, who were mainly interested in the life of the people in the Lazio cities, these artists were instead attracted by the Roman landscape and its countryside, as immortalized by Claude Lorrain and Gaspard Dughet. They made sketches of the most interesting views and buildings seen during their walks. Most of these artists, as well as Jacob de Heusch, then used these sketches to create paintings of ideal landscapes, in the style of the aforementioned masters. Most of de Heusch's works are freely conceived landscapes, containing topographical motifs in a style reminiscent of Gaspard Dughet and the Baroque compositions of Salvator Rosa, with groups of figures in the foreground and effective architectural effects that probably influenced the works of the young Luca Carlevarijs. In this painting from de Heusch's workshop, various key characteristics of the master's production are evident: it is perceived how the Flemish master looks to the style of Salvator Rosa, which however is lightened and softened, giving it serene and idyllic features. A warm light envelops the scene and vivid and dazzling colors envelop the figures, with a dynamic appearance and marked physiognomic characterization.