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 Watermill beside a Woody Lane (mk25) oil painting


Watermill beside a Woody Lane (mk25)
166(5 or 8)
Painting ID::  24179 		Meindert Hobbema
Watermill beside a Woody Lane (mk25)
166(5 or 8)
   
   
     
Meindert Hobbema Wooded Landscape with Travellers (mk25) oil painting


Wooded Landscape with Travellers (mk25)
1668
Painting ID::  24180 		Meindert Hobbema
Wooded Landscape with Travellers (mk25)
1668
   
   
     
Meindert Hobbema The Alley at Middelharnis oil painting


The Alley at Middelharnis
nn07 1689 Oil on canvas, 103,5 x 141 cm National Gallery, London
Painting ID::  31331 		Meindert Hobbema
The Alley at Middelharnis
nn07 1689 Oil on canvas, 103,5 x 141 cm National Gallery, London
   
   
     
Meindert Hobbema Avenue at Middelharnis oil painting


Avenue at Middelharnis
mk86 1689 Oil on canvas 103.5x141cm London,National Gallery
Painting ID::  33737 		Meindert Hobbema
Avenue at Middelharnis
mk86 1689 Oil on canvas 103.5x141cm London,National Gallery
   
   
     
Meindert Hobbema Village with Water Mill Among Trees oil painting


Village with Water Mill Among Trees
mk29 Oil on oak panel 94.3x129.8cm
Painting ID::  38197 		Meindert Hobbema
Village with Water Mill Among Trees
mk29 Oil on oak panel 94.3x129.8cm
   
   
     
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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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