SWANEVELT, Herman van
Dutch Baroque Era Painter, ca.1600-1655 Dutch painter, draughtsman and etcher, active in France and Italy. His first signed and dated works are two views of Paris dated 1623 (Brunswick, Herzog Anton Ulrich-Mus.). He was in Rome from 1629 to 1641. His earliest dated painting there is an Old Testament Scene (1630; The Hague, Mus. Bredius; see fig.), a compositional formula that he often used, with some variations, in Rome. A flat, low foreground is closed on the left by a house and a tree; on the right is a distant hilly scene; and groups of figures are disposed horizontally. This design, derived from Cornelis van Poelenburch, is well suited to van Swanevelt's many landscapes with biblical and mythological subjects. The large tree extending beyond the frame gives a monumental touch to the composition.
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SWANEVELT, Herman van Italian Landscape with Bridge and Castle ar oil painting


Italian Landscape with Bridge and Castle ar
1640s Oil on canvas Museum der Bildenden K??nste, Leipzig
Painting ID::  9193 		SWANEVELT, Herman van
Italian Landscape with Bridge and Castle ar
1640s Oil on canvas Museum der Bildenden K??nste, Leipzig
   
   
     
SWANEVELT, Herman van Landscape with St.Bruno oil painting


Landscape with St.Bruno
mk61 Oil on canvas 158x232cm
Painting ID::  28724 		SWANEVELT, Herman van
Landscape with St.Bruno
mk61 Oil on canvas 158x232cm
   
   
     
SWANEVELT, Herman van Landscape with Tall Rocks oil painting


Landscape with Tall Rocks
1643 Oil on canvas
Painting ID::  52073 		SWANEVELT, Herman van
Landscape with Tall Rocks
1643 Oil on canvas
   
   
     
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     SWANEVELT, Herman van
     Dutch Baroque Era Painter, ca.1600-1655 Dutch painter, draughtsman and etcher, active in France and Italy. His first signed and dated works are two views of Paris dated 1623 (Brunswick, Herzog Anton Ulrich-Mus.). He was in Rome from 1629 to 1641. His earliest dated painting there is an Old Testament Scene (1630; The Hague, Mus. Bredius; see fig.), a compositional formula that he often used, with some variations, in Rome. A flat, low foreground is closed on the left by a house and a tree; on the right is a distant hilly scene; and groups of figures are disposed horizontally. This design, derived from Cornelis van Poelenburch, is well suited to van Swanevelt's many landscapes with biblical and mythological subjects. The large tree extending beyond the frame gives a monumental touch to the composition.

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