Jacob van Ruisdael
Dutch Baroque Era Painter, ca.1628-1682 Ruysdael's favorite subjects are simple woodland scenes, similar to those of Everdingen and Hobbema. He is especially noted as a painter of trees, and his rendering of foliage, particularly of oak leaf age, is characterized by the greatest spirit and precision. His views of distant cities, such as that of Haarlem in the possession of the marquess of Bute, and that of Katwijk in the Glasgow Corporation Galleries, clearly indicate the influence of Rembrandt. He frequently painted coast-scenes and sea-pieces, but it is in his rendering of lonely forest glades that we find him at his best. The subjects of certain of his mountain scenes seem to be taken from Norway, and have led to the supposition that he had traveled in that country. We have, however, no record of such a journey, and the works in question are probably merely adaptations from the landscapes of Van Everdingen, whose manner he copied at one period. Only a single architectural subject from his brush is known--an admirable interior of the New Church, Amsterdam. The prevailing hue of his landscapes is a full rich green, which, however, has darkened with time, while a clear grey tone is characteristic of his seapieces. The art of Ruysdael, while it shows little of the scientific knowledge of later landscapists, is sensitive and poetic in sentiment, and direct and skillful in technique. Figures are sparingly introduced into his compositions, and such as occur are believed to be from the pencils of Adriaen van de Velde, Philip Wouwerman, and Jan Lingelbach. Unlike the other great Dutch landscape painters, Ruysdael did not aim at a pictorial record of particular scenes, but he carefully thought out and arranged his compositions, introducing into them an infinite variety of subtle contrasts in the formation of the clouds, the plants and tree forms, and the play of light. He particularly excelled in the painting of cloudscapes which are spanned dome-like over the landscape, and determine the light and shade of the objects. Goethe lauded him as a poet among painters, and his work shows some of the sensibilities the Romantics would later celebrate.
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Jacob van Ruisdael A Waterfall in a Rocky Landscape oil painting


A Waterfall in a Rocky Landscape
mk170 1660-1670 Oil on canvas 98.5x85cm
Painting ID::  43170 		Jacob van Ruisdael
A Waterfall in a Rocky Landscape
mk170 1660-1670 Oil on canvas 98.5x85cm
   
   
     
Jacob van Ruisdael A Landscape with a Ruined Castle and a Church oil painting


A Landscape with a Ruined Castle and a Church
mk170 1665-1670 Oil on canvas 109x146cm
Painting ID::  43171 		Jacob van Ruisdael
A Landscape with a Ruined Castle and a Church
mk170 1665-1670 Oil on canvas 109x146cm
   
   
     
Jacob van Ruisdael An Extensive Landscape with Ruins oil painting


An Extensive Landscape with Ruins
mk170 1665-1675 Oil on canvas 34x40cm
Painting ID::  43172 		Jacob van Ruisdael
An Extensive Landscape with Ruins
mk170 1665-1675 Oil on canvas 34x40cm
   
   
     
Jacob van Ruisdael View of Haarlem with Bleaching Grounds oil painting


View of Haarlem with Bleaching Grounds
mk207 Signed,lower left about 1670-75 Canvas 62.2x55.2cm
Painting ID::  50068 		Jacob van Ruisdael
View of Haarlem with Bleaching Grounds
mk207 Signed,lower left about 1670-75 Canvas 62.2x55.2cm
   
   
     
Jacob van Ruisdael Brick Bridge with a Sluice oil painting


Brick Bridge with a Sluice
mk207 About 1674 Panel 39.5x52.1cm
Painting ID::  50069 		Jacob van Ruisdael
Brick Bridge with a Sluice
mk207 About 1674 Panel 39.5x52.1cm
   
   
     
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     Jacob van Ruisdael
     Dutch Baroque Era Painter, ca.1628-1682 Ruysdael's favorite subjects are simple woodland scenes, similar to those of Everdingen and Hobbema. He is especially noted as a painter of trees, and his rendering of foliage, particularly of oak leaf age, is characterized by the greatest spirit and precision. His views of distant cities, such as that of Haarlem in the possession of the marquess of Bute, and that of Katwijk in the Glasgow Corporation Galleries, clearly indicate the influence of Rembrandt. He frequently painted coast-scenes and sea-pieces, but it is in his rendering of lonely forest glades that we find him at his best. The subjects of certain of his mountain scenes seem to be taken from Norway, and have led to the supposition that he had traveled in that country. We have, however, no record of such a journey, and the works in question are probably merely adaptations from the landscapes of Van Everdingen, whose manner he copied at one period. Only a single architectural subject from his brush is known--an admirable interior of the New Church, Amsterdam. The prevailing hue of his landscapes is a full rich green, which, however, has darkened with time, while a clear grey tone is characteristic of his seapieces. The art of Ruysdael, while it shows little of the scientific knowledge of later landscapists, is sensitive and poetic in sentiment, and direct and skillful in technique. Figures are sparingly introduced into his compositions, and such as occur are believed to be from the pencils of Adriaen van de Velde, Philip Wouwerman, and Jan Lingelbach. Unlike the other great Dutch landscape painters, Ruysdael did not aim at a pictorial record of particular scenes, but he carefully thought out and arranged his compositions, introducing into them an infinite variety of subtle contrasts in the formation of the clouds, the plants and tree forms, and the play of light. He particularly excelled in the painting of cloudscapes which are spanned dome-like over the landscape, and determine the light and shade of the objects. Goethe lauded him as a poet among painters, and his work shows some of the sensibilities the Romantics would later celebrate.

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