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Jacob van Ruisdael Landscape with Church and Village oil painting


Landscape with Church and Village
Painting ID::  10228
Jacob van Ruisdael
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 painting


The Marsh in a Forest
Painting ID::  10229
Jacob van Ruisdael
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 painting


Ray of Sunlight
Painting ID::  10230
Jacob van Ruisdael
Ray of Sunlight
1660Oil on canvas 83 x 99 cmLouvre

   
   
     

Jacob van Ruisdael An Extensive Landscape with Ruined Castle and Village Church oil painting


An Extensive Landscape with Ruined Castle and Village Church
Painting ID::  10231
Jacob van Ruisdael
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 painting


View of Haarlem with Bleaching
Painting ID::  10232
Jacob van Ruisdael
View of Haarlem with Bleaching
Grounds c 1665 Oil on canvas, 62,2 x 55,2 cm Kunsthaus, Zurich

   
   
     

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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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     | Frans Snyders | Berndt Lindholm | Kusma Petrow-Wodkin |


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