Who painted Landscape with Bird-Catching?

Landscape with Bird-Catching was painted by Unknown in 1774.

Where can I see Landscape with Bird-Catching?

Landscape with Bird-Catching is held by Statens Museum for Kunst.

Artwork

Landscape with Bird-Catching

Landscape with Bird-Catching is an unspecified painting by Unknown. It dates from 1774 and is held in the collection of the Statens Museum for Kunst.

About this work

Overview

The work presents an expansive outdoor setting where figures gather beneath a tree, while distant hills, scattered buildings, and a light sky frame the scene.

Landscape with Bird‑Catching, attributed to the artist known as 2166_person, dates to around 1774 and is part of the Museum of Ethnography’s collection. The work presents an expansive outdoor setting where figures gather beneath a tree, while distant hills, scattered buildings, and a light sky frame the scene. A few birds glide overhead, hinting at the title’s reference to bird‑catching activities.

Subject & Meaning

The foreground depicts a convivial group engaged in music, dance, and leisure, suggesting a communal celebration or ritual linked to the practice of bird‑catching. The juxtaposition of lively human activity against a tranquil natural backdrop underscores a relationship between cultural customs and the surrounding landscape, inviting viewers to contemplate the interplay of work, festivity, and environment.

Technique & Style

The artist employs a clear contrast of illumination, rendering the figures in bright, defined light while allowing the background to recede in softer, muted tones. This handling of chiaroscuro creates a sense of depth and atmospheric perspective, guiding the eye from the detailed foreground toward the hazier horizon. The composition balances detailed figuration with broader landscape elements.

History & Provenance

Created circa 1774, the painting entered the Museum of Ethnography’s holdings at an unspecified date, where it remains on display. Its attribution to 2166_person reflects cataloguing conventions rather than a fully documented biography, and the work’s survival offers insight into late‑eighteenth‑century visual records of regional customs.