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Lodewyk de VADDER (Bruxelles 1605 – 1655). Peasants ...

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After the rain, walking in the forest of Flanders.

Expertissim presents Peasants Stopping in a Clearing by Lodewyk de Vadder (Flemish School, 17th Century), a work that is both innovative and exemplary of 17th century Flanders.

The most well-known works from the Dutch School during this period were the blue maritime scenes that accelerated the success of Johan Vermeer and Meindert Hobbema but they illustrated the talent that these artists had with the landscape genre, whether marine or terrestrial.

Lodewyk Vadder executed a peaceful scene, yet synthetic, inspired by the style of the Northern Netherlands rather than that of the Southern Netherlands (Flanders).

The scene has an earthy hill landscape, almost desert, within which stands a simple and pleasant cottage amongst leafy trees that almost hide it. A small family composed of a man, woman and child move calmly towards the viewer.

At first glance, it is clear that the protagonists are not the major element of the scene as they seem lost in this vast, flourished and monumental landscape as small discrete figures. Yet their importance is crucial as these characters are pretexts for painting. In fact, the landscape was not even a genre in itself in the 17th century and it was painted for oneself. That is why, despite the avant-garde of the Flemish school, de Vadder could not conceive of representing a forest scene devoid of human presence. Thus these quite large and featured figures despite their small size (typical of Flemish art) provided an anecdotal and lively touch to this ample and still scene. We can distinguish their movements, gestures and attitudes.

We also note that a ray of light crossing the scene diagonally enhances the walkers. This allowed the artist to demonstrate his talents as a colorist on the one hand, and his knowledge of chiaroscuro on the other.

The hill on the left is then enhanced by a high-contrast shadow. The foreground and background are mysteriously plunged into a transcendental atmosphere that gives the whole ensemble an intimate character.

The trees, forming a vegetal frame among the terrestrial space, are flooded with light and appear more vivid.

A subtle perspective that guides the viewer's eye up to the midpoint of the horizon, invites us to

project ourselves into the forest and walk with the protagonists.

The palette chosen by the artist is rather limited, dominated by shades of ocher, brown and gold, clearly reminiscent of the natural and rustic situation in which the action takes place. Thus, the figures in blue and red clothing stand out and play their role even more anecdotal.

But their trip is not easy. Rocky and steep hills illustrate that the cottage is still far and that the stroll is not finished. One of the characters seems to sit on the side of a slope. Are they be lost? Is this scenario a pretext representation of the flight to Egypt for a local landscape?

In addition, the cold light that pierces the vegetation may forecast a winter sun that would emerge from behind the clouds after the rain. The working of the light will be adapted by the Dutch School later in the century as evidenced with the sublime Ray of Sunlight Jacob van Ruisdael (Louvre, Paris).

This work is emblematic of the Flemish avant-garde. Such a landscape, where ambiguity reigns on both the location and nature of the scene, the event taking place there and the identity of the characters, can be found in contemporary French classical art. In addition, Lodewyk de Vadder revealed his talent for the representation of light and its effects on nature. This painter was also representative of the autonomy given to the landscape by the Flemish school of the 17th century, an innovative self-determining source for painting in the late 19th century. While it will take more than two centuries before landscape is devoid of human presence, to focus on effects and modifications of the fleeting nature, the precocious emancipation of the Flemish landscape is essential for art history. Hobbema, van Goyen and van Ruisdael were major sources for the Impressionist painters.

Pauline Balayer

Student at the Ecole du Louvre