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Jacob van Ruisdael The Great Forest oil painting


The Great Forest
Painting ID::  3692
Jacob van Ruisdael
The Great Forest
Art History Museum, Vienna

   
   
     

Jacob van Ruisdael Rough Sea oil painting


Rough Sea
Painting ID::  3693
Jacob van Ruisdael
Rough Sea
1670 Museum of Fine Arts, Boston

   
   
     

Jacob van Ruisdael Sunlight on the Waterfront oil painting


Sunlight on the Waterfront
Painting ID::  3694
Jacob van Ruisdael
Sunlight on the Waterfront
26 in x 32

   
   
     

Jacob van Ruisdael Two Watermills and an Open Sluice near Singraven oil painting


Two Watermills and an Open Sluice near Singraven
Painting ID::  10216
Jacob van Ruisdael
Two Watermills and an Open Sluice near Singraven
1650 Oil on canvas, 87,3 x 111,5 cm National Gallery London

   
   
     

Jacob van Ruisdael Bentheim Castle oil painting


Bentheim Castle
Painting ID::  10217
Jacob van Ruisdael
Bentheim Castle
1653Oil on canvas National Gallery of Ireland, Dublin

   
   
     

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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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