Van der Kabel, who had probably been a pupil of Jan van Goyen, left Holland in his mid twenties for Lyon and Rome. He returned to Lyon, a rich commercial town in France on the road to Italy, where he spent the largest part of his career painting Italian landscapes and harbour scenes.
This is an early example of an exotic, Turkish scene, dating from the last quarter of the 17th century.
About Adriaen van der Kabel
Rijswijk (just S. of The Hague) 1630/31 – 1705 Lyon
Landscape painter: until circa 1660 Dutch landscapes, after this date Mediterranean landscapes and harbour scenes.
Pupil of Jan van Goyen in The Hague (1645 – 1648), according to the Dutch painters’ biographer Arnold Houbraken (1660 – 1719) in his “De groote schouburgh der Nederlantsche konstschilders en schilderessen” from 1718. Van der Kabel lived at The Hague between 1644 and 1654.
In the period circa 1655 to circa 1658 he worked in Lyon. Lyon, situated on the road to Italy, was an important commercial and intellectual centre. The silk industry and the printing companies brought here prosperity.
Between circa 1659 and 1666 van der Kabel lived in Rome. He was a member of the Schildersbent, a society of Dutch, Flemish, a few German and a single French painter, all of them active in Rome. It was founded in or circa 1623. Its members were called the “Bentveughels’” (“group of birds”). Although created as a support for compatriots it soon became well known for its rather convivial meetings, in so far that in 1720 this joyful society was forbidden by papal decree for too many feasts had ended in the greatest disorder. Van der Kabel’s name appears in several police documents of those days for fighting.
Every member of the Schildersbent received a surname, a so-called “Bentname”. Van der Kabel was surnamed “Geestigheid”, that is “Wittiness”.
He fell under the influence of the Southern harbour scenes and landscapes by Claude le Lorrain and by Salvator Rosa, and of the biblical and therefore at times Orientalist paintings, drawings and engravings of Giovanni Benedetto Castiglione.
In Rome van der Kabel was active not only as an independent artist, but also as the staffage painter (figure painter) of the painter of architectural scenes, Viviano Codazzi (this according to a letter from 1665 from Abraham Brueghel to Antonio Ruffo).
The following two years he was in Paris and in S. France, in Toulouse, Aix-en-Provence and Avignon.
Finally between 1668 and his death in 1705 he was back in Lyon.
During a few years he was assisted here by the Dutch painter Johannes Glauber (Utrecht 1646 – 1726 Schoonhoven), either between 1670 and 1672 or in 1672 and 1673.
Van der Kabel painted in Lyon several series of paintings to decorate large houses, among them the Hôtel Sabot de Pizeys.
From circa 1659 Adriaen was accompanied by his ten (or fourteen) years younger brother, Engel van der Kabel. Both brothers married in Lyon. The last mention known of Engel was in 1695, though he might have lived longer. Engel is thought to have been a still life painter.
Adriaen’s godson, Adriaen Manglard (Lyon 1695 – 1760 Rome), was his pupil. He became a painter of maritime subjects.
About our painting
Van der Kabel was, besides being a painter, an excellent draughtsman and also active as an engraver.
The Italian palette, the brownish tonality, the dramatic clouds and the oddly shaped hills are typical of van der Kabel.
Why should you buy this painting?
Because it is a magnificent Baroque Turkish scene dating from the last quarter of the 17th century: exotic and overly decorative. The main figures wear beautiful silk clothes; Lyon was in that period the European capital of the silk production.