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.
       Prev  1  2  3  4  5  6  7  8  9  10   Next
  Prev Artist       Next Artist     
   
    
Jacob van Ruisdael Landscape with Church and Village oil


Landscape with Church and Village
Painting ID::  10228 		Landscape with Church and Village
1665Oil on canvas 59,1 x 73,2 cm Alte Pinakothek, Munich
   
   
     
Jacob van Ruisdael The Marsh in a Forest oil


The Marsh in a Forest
Painting ID::  10229 		The Marsh in a Forest
c. 1665 Oil on canvas, 72,5 x 99 cm The Hermitage, St. Petersburg
   
   
     
Jacob van Ruisdael Ray of Sunlight oil


Ray of Sunlight
Painting ID::  10230 		Ray of Sunlight
1660Oil on canvas 83 x 99 cmLouvre
1660Oil_on_canvas_ 83_x_99_cmLouvre
   
   
     
Jacob van Ruisdael An Extensive Landscape with Ruined Castle and Village Church oil


An Extensive Landscape with Ruined Castle and Village Church
Painting ID::  10231 		An Extensive Landscape with Ruined Castle and Village Church
1665Oil on canvas 109 x 146 cm National Gallery, London
   
   
     
Jacob van Ruisdael View of Haarlem with Bleaching oil


View of Haarlem with Bleaching
Painting ID::  10232 		View of Haarlem with Bleaching
Grounds c 1665 Oil on canvas, 62,2 x 55,2 cm Kunsthaus, Zurich
   
   
     
       Prev  1  2  3  4  5  6  7  8  9  10   Next
Prev Artist       Next Artist     
     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.

CONTACT US
Xiamen China Wholesale Oil Painting Stretcher Bar Frame Moulding Mirror Framed Stretched Paintings