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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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Oak Tree and Dense Shrubbery at the Edge of a pond
mk207
About 1646-48
Panel
66x48.9cm
Painting ID:: 50080
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Oak_Tree_and_Dense_Shrubbery_at_the_Edge_of_a_pond
mk207
About 1646-48
Panel
66x48.9cm
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View of Egmond aan Zee with a Blasted Elm
mk207
Signed and dated 1648
Lower left
65.09x49.85cm
Painting ID:: 50081
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View_of_Egmond_aan_Zee_with_a_Blasted_Elm
mk207
Signed and dated 1648
Lower left
65.09x49.85cm
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Waterfall in a Hilly Wooded Landscape
mk207
Signed
About 1660
Canvas
105.5x123.4cm
Painting ID:: 50082
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Waterfall_in_a_Hilly_Wooded_Landscape
mk207
Signed
About 1660
Canvas
105.5x123.4cm
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Grove of Large Oak trees at the Edge of a pond
mk207
Signed
lower right
About 1665
Canvas
101x123cm
Painting ID:: 50083
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Grove_of_Large_Oak_trees_at_the_Edge_of_a_pond
mk207
Signed
lower right
About 1665
Canvas
101x123cm
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Hilly Landscape with a great oak and a Grainfield
mk207
About 1652-55
Canvas
106x138cm
Painting ID:: 50084
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Hilly_Landscape_with_a_great_oak_and_a_Grainfield
mk207
About 1652-55
Canvas
106x138cm
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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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