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 Marsh in a Forest oil


Marsh in a Forest
Painting ID::  50085 		Marsh in a Forest
mk207 Signed About 1665 Cavvas 72.5x99cm
mk207 Signed About_1665 Cavvas 72.5x99cm
   
   
     
Jacob van Ruisdael Cottage under the trees near a Grainfield oil


Cottage under the trees near a Grainfield
Painting ID::  50086 		Cottage under the trees near a Grainfield
mk207 Monogr ammed About 1650-55 Canvas 56.8x68.2cm
mk207 Monogr_ammed About_1650-55 Canvas 56.8x68.2cm
   
   
     
Jacob van Ruisdael Edge of a Forest with a grainfield oil


Edge of a Forest with a grainfield
Painting ID::  50087 		Edge of a Forest with a grainfield
mk207 Signed About 1655 Canvas 104.7x148.8cm
mk207 Signed_ About_1655 Canvas 104.7x148.8cm
   
   
     
Jacob van Ruisdael Hilly Wooded Landscape with Cattle oil


Hilly Wooded Landscape with Cattle
Painting ID::  50088 		Hilly Wooded Landscape with Cattle
mk207 Monogrammed at the left edge about 30cm above the canvas-s bottom
   
   
     
Jacob van Ruisdael Waterfall in a Mountainous Landscape with a Ruined castle oil


Waterfall in a Mountainous Landscape with a Ruined castle
Painting ID::  50089 		Waterfall in a Mountainous Landscape with a Ruined castle
mk207 Signed About 1665-70 Canvas 119x180cm
mk207 Signed_ About_1665-70 Canvas 119x180cm
   
   
     
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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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