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 Oak Tree and Dense Shrubbery at the Edge of a pond oil


Oak Tree and Dense Shrubbery at the Edge of a pond
Painting ID::  50080 		Oak Tree and Dense Shrubbery at the Edge of a pond
mk207 About 1646-48 Panel 66x48.9cm
mk207 About_1646-48 Panel 66x48.9cm
   
   
     
Jacob van Ruisdael View of Egmond aan Zee with a Blasted Elm oil


View of Egmond aan Zee with a Blasted Elm
Painting ID::  50081 		View of Egmond aan Zee with a Blasted Elm
mk207 Signed and dated 1648 Lower left 65.09x49.85cm
mk207 Signed_and_dated_1648 Lower_left_ 65.09x49.85cm
   
   
     
Jacob van Ruisdael Waterfall in a Hilly Wooded Landscape oil


Waterfall in a Hilly Wooded Landscape
Painting ID::  50082 		Waterfall in a Hilly Wooded Landscape
mk207 Signed About 1660 Canvas 105.5x123.4cm
mk207 Signed_ About_1660 Canvas 105.5x123.4cm
   
   
     
Jacob van Ruisdael Grove of Large Oak trees at the Edge of a pond oil


Grove of Large Oak trees at the Edge of a pond
Painting ID::  50083 		Grove of Large Oak trees at the Edge of a pond
mk207 Signed lower right About 1665 Canvas 101x123cm
   
   
     
Jacob van Ruisdael Hilly Landscape with a great oak and a Grainfield oil


Hilly Landscape with a great oak and a Grainfield
Painting ID::  50084 		Hilly Landscape with a great oak and a Grainfield
mk207 About 1652-55 Canvas 106x138cm
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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