Meindert Hobbema
1638-1709 Dutch Meindert Hobbema Galleries In the exercise of his craft Hobbema was patient beyond all conception. It is doubtful whether any one ever so completely mastered as he did the still life of woods and hedges, or mills and pools. Nor can we believe that he obtained this mastery otherwise than by constantly dwelling in the same neighbourhood, say in Guelders or on the Dutch Westphalian border, where day after day he might study the branching and foliage of trees and underwood embowering cottages and mills, under every variety of light, in every shade of transparency, in all changes produced by the seasons. Though his landscapes are severely and moderately toned, generally in an olive key, and often attuned to a puritanical grey or russet, they surprise us, not only by the variety of their leafage, but by the finish of their detail as well as the boldness of their touch. With astonishing subtlety light is shown penetrating cloud, and illuminating, sometimes transiently, sometimes steadily, different portions of the ground, shining through leaves upon other leaves, and multiplying in an endless way the transparency of the picture. If the chance be given him he mirrors all these things in the still pool near a cottage, the reaches of a sluggish river, or the swirl of the stream that feeds a busy mill. The same spot will furnish him with several pictures. One mill gives him repeated opportunities of charming our eye; and this wonderful artist, who is only second to Ruisdael because he had not Ruisdael's versatility and did not extend his study equally to downs and rocky eminences, or torrents and estuaries - this is the man who lived penuriously, died poor, and left no trace in the artistic annals of his country. It has been said that Hobbema did not paint his own figures, but transferred that duty to Adriaen van de Velde, Lingelbach, Barendt Gael, and Abraham Storck. As to this much is conjecture.
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Meindert Hobbema The Water Mill oil painting


The Water Mill
The Water Mill 1663Oil on wood 77,5 x 111 cm Musees Royaux des Beaux-Arts, Brussels
Painting ID::  10257 		Meindert Hobbema
The Water Mill
The Water Mill 1663Oil on wood 77,5 x 111 cm Musees Royaux des Beaux-Arts, Brussels
   
   
     
Meindert Hobbema The Watermill Oak oil painting


The Watermill Oak
59,5x84,5cm Gemaldegalerie, Dresden
Painting ID::  10258 		Meindert Hobbema
The Watermill Oak
59,5x84,5cm Gemaldegalerie, Dresden
   
   
     
Meindert Hobbema Wooded Landscape with Water Mill oil painting


Wooded Landscape with Water Mill
1662 Oil on canvas Art Institute of Chicago
Painting ID::  10259 		Meindert Hobbema
Wooded Landscape with Water Mill
1662 Oil on canvas Art Institute of Chicago
   
   
     
Meindert Hobbema The Water Mill (mk05) oil painting


The Water Mill (mk05)
Canvas 31 1/4 x 26''(80 x 66 cm)Acquired in 1861
Painting ID::  20605 		Meindert Hobbema
The Water Mill (mk05)
Canvas 31 1/4 x 26''(80 x 66 cm)Acquired in 1861
   
   
     
Meindert Hobbema Avenue at Middelharnis (mk08) oil painting


Avenue at Middelharnis (mk08)
1689 Oil on canvas 103.5x141cm London,National Gallery
Painting ID::  21812 		Meindert Hobbema
Avenue at Middelharnis (mk08)
1689 Oil on canvas 103.5x141cm London,National Gallery
   
   
     
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     Meindert Hobbema
     1638-1709 Dutch Meindert Hobbema Galleries In the exercise of his craft Hobbema was patient beyond all conception. It is doubtful whether any one ever so completely mastered as he did the still life of woods and hedges, or mills and pools. Nor can we believe that he obtained this mastery otherwise than by constantly dwelling in the same neighbourhood, say in Guelders or on the Dutch Westphalian border, where day after day he might study the branching and foliage of trees and underwood embowering cottages and mills, under every variety of light, in every shade of transparency, in all changes produced by the seasons. Though his landscapes are severely and moderately toned, generally in an olive key, and often attuned to a puritanical grey or russet, they surprise us, not only by the variety of their leafage, but by the finish of their detail as well as the boldness of their touch. With astonishing subtlety light is shown penetrating cloud, and illuminating, sometimes transiently, sometimes steadily, different portions of the ground, shining through leaves upon other leaves, and multiplying in an endless way the transparency of the picture. If the chance be given him he mirrors all these things in the still pool near a cottage, the reaches of a sluggish river, or the swirl of the stream that feeds a busy mill. The same spot will furnish him with several pictures. One mill gives him repeated opportunities of charming our eye; and this wonderful artist, who is only second to Ruisdael because he had not Ruisdael's versatility and did not extend his study equally to downs and rocky eminences, or torrents and estuaries - this is the man who lived penuriously, died poor, and left no trace in the artistic annals of his country. It has been said that Hobbema did not paint his own figures, but transferred that duty to Adriaen van de Velde, Lingelbach, Barendt Gael, and Abraham Storck. As to this much is conjecture.

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