Pieter Mulier (haarlem, 1637 - Milan, 1701), Attr., Couple Of Landscapes With Ducks And Goats

Pieter Mulier (Haarlem, 1637 - Milan, 1701), attr.
Couple of landscapes with ducks and goats
(2) Oil on paper applied to table, 29 x 44.5 cm
With frame cm 42.7 x 56.5

Pieter Mulier the Younger, also known as the Storm or Cavalier Tempesta because of his youthful interests in the Ligurian capital to mainly fresco scenes with ships in a gale, was formed by his father in Dutch territory. He then moved to Italy in 1656, reaching first the city of Rome, where he waited for frescoes at Palazzo Colonna. Volse followed in Genoa (1668), where he made the famous Burrasca (Galleria Doria Pamphilj in Rome) and Paesaggio nella tempesta (Gemäldegalerie in Dresden). Reached the city of Milan, continued his work as a landscape and animal painter in Venice, where he moved twenty years later, staying at the same time in several Lombard towns at the time domìni of the Serenissima and promoting a flourishing workshop, Carlo Antonio Tavella and Pietro Cignaroli were among the participants.

The present couple strengthens the artist’s catalogue, mainly in private collections when it treats landscape pieces with inclusion of live nature, as well as the paintings under consideration. A warm atmosphere projects in a shady day some groups of lively animals, in one ducks at a pond, in the other goats. A full-bodied brush distributes a generous chiaroscuro in both compositions, broken only by the luminous manes and plumage of the animals, analyzed with significant firmness. The dark color that envelops the environments is consistent with the personal belonging of the artist to the golden age of Dutch painting, always remembered in observance of its typical formal technicalities, despite the fruitful reception of Italian culture, Adopted by the artist at the time of transfer to the peninsula.

It is possible to compare the present pair with two paintings in museum collections, one depicting an Announcement to the shepherds (Milan, Fondazione Cariplo), the other a more canonical Landscape with flocks (Kunsthistorisches Museum of Vienna). In both cases, the enveloping brush strokes recorded in the present are strongly plastic and modeled on a decisive drawing line. The contrast between gloomy colours and sudden sightings in the depths of the sky is constant in Mulier’s production: consider the Landscape with shepherds and, on the background, a scene of deer hunting from the Brescia Museums Foundation where, In addition to the golden crack in the sky, they are figuratively renewed goats peeping out of the forest, in that same wild nature with a vibrant scent, proposed by those present. 

The object is in good condition

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