Landscape with Tournament and Hunters

1519–20

Jan van Scorel (Netherlandish, 1495-1562)

Dutch painter Jan van Scorel was one of the first Northern European artists to make an extended trip to Italy to study antiquities and the new Renaissance style. This landscape must have been made during his stay in southern Europe as a young artist; the panel is made from poplar, a wood commonly used in Italy. The two aristocratic pastimes depicted, jousting and hunting, were frequent themes of Northern European landscapes, particularly in prints, and Italian patrons were drawn to these extravagant visions of courtly pursuits.

Status: On View, Gallery 207
Department: Painting and Sculpture of Europe

Artist: Jan van Scorel
Title: Landscape with Tournament and Hunters
Place: Netherlands (Artist's nationality:)
Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.: 1519–1520
Medium: Oil on panel
Dimensions: 57.8 × 138.5 cm (22 3/4 × 54 9/16 in.); Framed: 72.4 × 152.1 × 9.6 cm (28 1/2 × 59 7/8 × 3 3/4 in.)
Credit Line: George F. Harding Collection
Reference Number: 1990.560
IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Learn more.: https://api.artic.edu/api/v1/artworks/110527/manifest.json

Friedrich Winkler, “Jan Scorel oder “Zuan Fiamengo,” Oud Holland 48 (1931), p. 176, fig. 2.
M[olly] F[aries], in Fiamminghi a Roma, 1508–1608, exh. cat., Brussels, Palais des Beaux-Arts, and Rome, Palazzo delle Esposizioni, 1995, p. 255, under no. 179.
Molly Faries and Martha Wolff, “Landscape in the Early Paint ings of Jan van Scorel,” Burlington Magazine 138 (1996), pp. 724–33, figs. 2, 5, 17, 18.
Molly Faries, “Scorel, Jan van,” in Dictionary of Art, vol. 28, 1996, p. 216.
Monika Anne Schmitter, “7e Display of Distinction: Art Collecting and Social Status in Early Sixteenth-Century Venice,” Ph.D. diss., University of Michigan, 1997, pp. 69, 76.
Molly Faries, “Jan van Scorel’s Jerusalem Landscapes,” in In Detail: New Studies of Northern Renaissance Art in Honor of Walter S. Gibson, ed. Laurinda S. Dixon, Turnhout, 1998, pp. 114–16, 128, 131, fig. 2.
Jill Dunkerton, “North and South: Painting Techniques in Venice,” in Renaissance Venice and the North: Crosscurrents in the Time of Bellini, Dürer and Titian, exh. cat., ed. Bernard Aikema and Beverly Louise Brown, Venice, Palazzo Grassi, 1999, p.
102.
Beverly Louise Brown, in Renaissance Venice and the North, p. 462, under no. 125.
Molly Faries, “Another New Early Jan van Scorel,” in Polyptiek: Een veelluik van Groninger bijdragen aan de kunstgeschiedenis, ed. Henk Th. van Veen et al., Zwolle, 2002, pp. 42–44, 47, 221–22.
Martha Wolff in Martha Wolff et al., Northern European and Spanish Paintings before 1600 in the Art Institute of Chicago, Chicago, 2008, pp. 297-301, ill.

New York, Corona Mundi International Art Center (Roerich Museum), Exhibition of Old Masters, 1927, no. 1, as Vinckboons.
Art Institute of Chicago, On the Road to Italy: Early Paintings by Dutch Renaissance Master Jan van Scorel, 1998 (no cat.).

R. Sabelsky, Saint Petersburg [according to the catalogue of the Roerich sale in 1930 cited below]. Roerich Museum, New York, by 1927 [according to the catalogue of the Roerich sale]; sold, American Art Association, Anderson Galleries, New York, Mar. 27–28, 1930, no. 128. George F. Harding, Jr. (d. 1939), Chicago; bequeathed to the George F. Harding Museum, Chicago; ownership transferred to the Art Institute, 1982; accessioned, 1990.

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Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.

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IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world.

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