Monogrammed
Provenance: private collection
This spacious, large-scale composition offers a skillful interpretation of the theme of ruins. With exacting and exquisite workmanship, Jacob...
read moreMonogrammed
Provenance: private collection
This spacious, large-scale composition offers a skillful interpretation of the theme of ruins. With exacting and exquisite workmanship, Jacob Grimmer divides the panel into two separate worlds with quite distinct atmospheres. On the left-hand side, ruins, overgrown with vegetation provide an ideal setting for a recounting of the legend of Quintus Cincinnatus. On the right, with smooth finesse, the painter has arranged a succession of planes vanishing into the distant horizon. Grimmer employs a palette of blue, yellow and orange in order to draw the viewer’s gaze as deeply as possible into the world of his painting. Numerous winding pathways also lead us through the hills of Latium, bringing us inevitably to the city of Rome wich sprawls on the horizon.
In his work, Jacob Grimmer has depicted a historical event that is particularly emblematic of the values of the Roman Republic. The story takes place in 457 B.C., at a time of major crisis for Rome, when it risked destruction at the hands of the Sabines. Confronted with this threat, the Senate decided to transfer power to the citizen of greatest integrity, known for his strict morals. The painter brings to life a scene described by Livy in his History of the Roman Republic. “Quintus Cincinnatus is at work in the field when a delegation of notables asks him to don his toga in order to receive a communication from the Senate. Astonished, he asks: “Nothing serious, I trust?” and tells his wife Racilia to quickly fetch his toga from his cottage. In no time, the delegation has proclaimed the dictator, congratulates him and begs him to come and save Rome, explaining the panic that has taken hold of the army.” Once the Sabines have been conquered and peace has returned to Rome, Cincinnatus restores the power to the Senate and returns to his plow. The text engraved on the fragment of marble in the foreground at left explains the painting and also allows the painter to include his monogram:
L. Quintius Cincinnatus
Ab Aratro Voctus
Et
Dictador Creatus
G
In fact, to look at the painting, its political message appears secondary. Jacob Grimmer envelops the viewer in the calm serenity of the Italian countryside. The atmosphere is picturesque and bucolic. The cowherds in the foreground are driving their cattle to the village while other peasants rest peacefully in the grass. The mountains, in the background, are covered with lusher vegetation and the roads there appears less passable. Both a stylistic choice and an opportunity for the artist to display his brilliant mastery of perspective effects, Grimmer takes pleasure in constructing multiple planes within this panel, ranging from the fragment of marble in the foreground to the city of Rome that melts into the torrid haze.
In its beautiful execution and rich palette as well as the ideals embodies, this painting is one of the master’s most accomplished works.
Around 1526 – Antwerp – 1589
Jacob Grimmer, a contemporary of Pieter Brueghel I, was born in Antwerp circa 1526. He did his apprenticeship here in 1539, studying under Gabriel Bauwens, Mathys Cock...
read moreAround 1526 – Antwerp – 1589
Jacob Grimmer, a contemporary of Pieter Brueghel I, was born in Antwerp circa 1526. He did his apprenticeship here in 1539, studying under Gabriel Bauwens, Mathys Cock and Cerstian van den Queckborn. He became a free master in 1547, married in 1548 and had four children. He most probably travelled to Italy as was the norm for young painters.
His work marked a major turning point in the development of 16th century Flemish landscape painting. His interpretation of landscape, inspired by the views of the areas surrounding Antwerp, and the rural scenes he includes within, demonstrates a new conception of an exceptional maturity.
Simplified, plain landscapes, which made their appearance towards the middle of the century, were largely his invention. The fantastic panoramas, whimsically-shaped gigantic rocks and natural undulations still dear to Lucas Gassel, were abandoned in favour of a simplicity and authenticity never achieved before. Colours also became more real, with a constant desire to portray well-constructed, atmospheric values according to the coherence of all the details, in an effort to respect the unity of the composition.
He often liked to fill his landscapes with characters and small anecdotal scenes with the same spontaneity and the same naturalist vision, rather than giving a fatalistic explanation of things as Pieter Brueghel would have done. Marten van Cleve and Gillis Mostaert collaborated with him. He had a great influence and inspired numerous painters such as his son Abel, as well as Gillis van Coninxloo, Jan Brueghel II and Jan Wildens.
