LAER, Pieter van

In 1623, Dutch painters living in Rome (Pieter van Laer, Cornelis van Poelenburgh, Bartholomeus Breenbergh and others) formed a sort of brotherhood, the members of which were known as Bentvueghels (literally: bids of the flock). Every newcomer from the north could join the club, but first had to undergo a farcical induction ritual. The Bentvueghels took great pride in their parties as shown by the large number of drawings and even paintings made of them.

Van Laer lived from 1625 to 1639 in Rome where he created genre scenes illustrating popular Roman life called Bambocciate. The pendants The Herdsmen and Departure from the Inn, doubtless executed after his return from Italy, are still typical of that vein.

In the first half of the seventeenth century many Dutch painters made the long journey to Italy to familiarize themselves with Italian art. Pieter van Laer lived in Rome from 1623 to 1639, and the picture in the Budapest collection was painted during the last years of his stay. The free composition of his paintings, the broad gestures and bright sunshine illuminating the colours reveal what most captivated the artist, who had moved south from the grey rainclouds of the Netherland skies.

Genre painters often represent some play or game. The simplest social game is the “morra” for which no objects are needed because the fingers of the hand suffice. This primitive entertainment has brought together this bunch of penniless, ragged tramps. Laer wilfully apprehended them and their environment in what they are common, trivial and humorous, too unlike the other canvases of the painter. Aristocratic collectors liked such small-size genre pictures, for they considered them funny.

A smaller second version of the painting is in the Alte Pinakothek in Munich.

This work is distinguished by the dignity it gives to a simple moment in the life of humble people without a trace of the anecdotal or picturesque. The static stance and quiet mood of the old pedlar sending bread rings (ciambella) recalls the tragic overtones found in Louis Le Nain’s paintings of peasants.

The painting was also attributed to Johannes Lingelbach (1622-1674), a member of the younger generation who continued working in Bamboccio’s style after he left Rome.

Van Laer lived from 1625 to 1639 in Rome where he created genre scenes illustrating popular Roman life called Bambocciate. The pendants The Herdsmen and Departure from the Inn, doubtless executed after his return from Italy, are still typical of that vein.