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拍品专文
The monochromatic palette and confident draftsmanship of this busy beach scene by Adriaan van der Cabel evoke the work of his teacher, Jan van Goyen (1596-1656). The topography, although it cannot be identified definitively, resembles Van Goyen's paintings of Scheveningen near The Hague (such as Fisherfolk and Townsfolk on the Beach at Scheveningen, sold Christie's, New York, 29 January 1998, lot 105). Devoting large areas of the composition to sea and sky, Van der Cabel captured the elements that so strikingly characterize the low-lying Dutch terrain. Yet he has also emphasized the human presence in the landscape, enlivening the shoreline with energetic figures walking, riding and sailing across the ocean and land.
After training with Van Goyen in The Hague in the 1640s, Van der Cabel traveled via France to Italy in 1655, where he joined the rowdy confraternity of Dutch artists in Rome known as the Schildersbent. As was customary for this group, Van der Cabel received the nickname of Geestigheit, or 'Witticism', and apparently engaged in their hijinks as well: in 1665, his name appears in multiple police reports for brawling. He departed Italy the following year, traveling around France before settling in Lyon, where he spent the remainder of his career.
After training with Van Goyen in The Hague in the 1640s, Van der Cabel traveled via France to Italy in 1655, where he joined the rowdy confraternity of Dutch artists in Rome known as the Schildersbent. As was customary for this group, Van der Cabel received the nickname of Geestigheit, or 'Witticism', and apparently engaged in their hijinks as well: in 1665, his name appears in multiple police reports for brawling. He departed Italy the following year, traveling around France before settling in Lyon, where he spent the remainder of his career.