Adam Pijnacker – Rijksmuseum SK-A-323. Italiaans landschap met tempeltje/Italian landscape with ancient tempietto (c. 1649 – c. 1673)
Materials: oil on canvas. Dimensions: 69.5 x 60 cm. Acquisition date: 1870. Nr.: SK-A-323. Sursa: http://www.geheugenvannederland.nl/?/en/items/previous:next/&p=1&i=2&o=2&st=Pijnacker%2C+Adam&sc=%28cql.serverChoice+all+%22Pijnacker+Adam%22%29+AND+%28isPartOf+any+%22RIJK01%22+%29
Italiaans landschap met links een tempeltje op een kleine heuvel aan de waterkant. Rechts een rivier waar herders met hun vee rusten (http://www.rijksmuseum.nl/collectie/zoeken/asset.jsp?id=SK-A-323&lang=en).
Meindert Hobbema – Museo Thyssen Bornemisza 1930.31. Woodland Pond (ca. 1660-1663)
Materials: oil on canvas. Dimensions: 68.9 x 90.2 cm. Nr.: INV. Nr. 187 (1930.31). Sursa: http://www.museothyssen.org/img/obras_descarga/1930.31.jpg
Following his move to Amsterdam in 1660, Jacob van Ruisdael stated that Hobbema had lived with him and served him for various years. This period has been understood as Hobbema’s term of apprenticeship and his contact with Van Ruisdael influenced his style. In addition to this information, further data indicates that the two artists were associated and were friends, for example, the fact that Van Ruisdael was a witness to Hobbema’s marriage to Eeltje Pieters Vinck in 1668. Hobbema’s subject matter is less extensive than Van Ruisdael’s and he focused to a greater extent on woodland scenes, which he repeated with numerous variants. His landscapes lack the depth and spirit of Van Ruisdael’s but they deploy a lively chromatic range of greens, browns and greys used to illuminate a positive vision of nature constructed with delicate forms. For these reasons Hobbema was one of the most highly appreciated landscape painters in the late 19th century and his works achieved high prices on the art market.
Woodland Pond has been dated to the period when the artist was most dependent on Van Ruisdael’s models and in fact, as Nieuwenhuys revealed, this composition is derived from a print by the latter entitled Marshy Woodland with Travellers on the Bank, also known as The Travellers. As with the present canvas, in the print Van Ruisdael included a massive trees with twisted trunk and branches, some of them dead, and with its roots out of the water, and another slanting tree on the right bank with its branches brushing the water. Despite the compositional parallels, Hobbema presented a less oppressive and dramatic vision of the wood by opening up the composition in the centre and thus allowing for a view into a brightly lit clearing in the background. Other differences between the two artists’ approach included the right bank in which Hobbema here omits the stones, tall grass and piles of leaves in the foreground in order to create a more human, less aggressive mood. This area of the painting is used by Hobbema to depict a narrow, winding path with walkers positioned along its course. They located in a clearing in the middle distance, in the foreground and beside the trees in the middle-ground, all included with the intention of guiding the spectator’s gaze into the pictorial space.
There is another larger version of this canvas in the National Gallery of Victoria, Melbourne, signed and dated 1662, which reveals slight differences with respect to the present painting. Both Van Ruisdael’s print and the Melbourne canvas have been used to date the present work, which Gaskell placed in the early 1660s. That author also bore in mind the adaptations that Hobbema made of Van Ruisdael’s compositions, as well as the treatment of light and the manner of opening up spaces within the wood, which according to Gaskell are all characteristic of this period.
Mar Borobia (http://www.museothyssen.org/en/thyssen/ficha_obra/309)
Meindert Hobbema – Brooklyn Museum 56.159. Hamlet in the Wood (1660-1665)
Materials: oil on canvas. Dimensions: 38 1/4 x 51 5/8 in. (97.2 x 131.1 cm) Frame: 50 x 63 x 5 in. (127 x 160 x 12.7 cm). Inscriptions: Signed lower left: “M. Hobbema”. Gift of Horace O. Havemeyer. Nr. Accession Number: 56.159. Source: http://www.archive.org/details/brooklynmuseum-o72403-hamlet-in-the-wood
Jan van der Heyden, Adriaen van de Velde – Rijksmuseum SK-C-143. De Sankt Severin te Keulen opgenomen in een gefantaseerd stadsbeeld/The church of St. Severin in Cologne in a fictive setting (1660-1672)
Materials: oil on panel. Dimensions: 49 x 65 cm. Inscriptions: signatuur rechtsonder: I. v.d. Heyde. Nr. SK-C-143. Source: http://www.rijksmuseum.nl/collectie/zoeken/asset.jsp?id=SK-C-143&lang=en
De Sankt Severin te Keulen opgenomen in een gefantaseerd stadsbeeld. Gezicht op een plein net buiten de stadsmuren. In het midden de stadspoort. Midden onderaan geeft een heer een aalmoes aan een bedelende vrouw
Jacob van Ruisdael – Rijksmuseum SK-A-347. Bentheim Castle (after 1650)
Materials: oil on canvas. Dimensions: 68 x 54 cm. Inscriptions: signatuur rechtsonder: JVRuisdael. Nr.: SK-A-347. Acquisition date: 1810. Source: http://www.geheugenvannederland.nl/?/en/items/RIJK01:SK-A-347/&p=1&i=11&st=ruisdael&sc=%28ruisdael%29/&wst=ruisdael.
On top of a hill stands Bentheim Castle. In the shade a shepherd is walking with his flock. Further up, at the foot of the hill, in the light of the setting sun, a couple of people are standing on a track that appears to run into the river rushing along through rocks and dead trees in the foreground of the painting. The situation in the painting does not completely correspond with reality. In real life the castle is much less imposing. Though Van Ruisdael must have seen the castle during a trip he made with his friend the painter Claes Berchem. Van Ruisdael signed the painting on the right on a rock (http://www.rijksmuseum.nl/aria/aria_assets/SK-A-347?lang=en).
Pieter Saenredam – Mauritshuis 0974. De Mariaplaats met de Mariakerk te Utrecht (1659)
Materials: oil on panel. Dimensions: 44 x 63 cm. Nr. 0974. Sursa: http://www.geheugenvannederland.nl/?/en/items/MAU01:0974
Saenredam geeft hier een nauwkeurig beeld van de Utrechtse Mariakerk. Deze oude kerk, waarvan de bouw al omstreeks 1085 was begonnen, was in de 17de eeuw sterk in verval geraakt. Her en der groeit het onkruid op de dakranden. De kerk werd niet meer voor de eredienst gebruikt. Vanaf 1619 gebruikte het Bijlhouwers-gilde een deel van het gebouw zelfs om er zijn meubels uit te stallen. Het reclamebord boven de ingang (linksonder) geeft een impressie van de toonzaal. In de loop der tijd werd de kerk stukje bij beetje gesloopt en in 1844 werden het restant – het koor – met de grond gelijkgemaakt.
De voorstellingen van Saenredam onderscheiden zich door een grote helderheid, precisie en harmonie. Bij dit schilderij wordt dat nog versterkt door de vredige stilte op de Mariaplaats. Het kon daar veel drukker zijn, vooral tijdens de markten die er regelmatig werden gehouden. Maar bij Saenredam zijn de luiken van de stalletjes (rechts van de ingang) gesloten.
Saenredam voltooide het schilderij op 20 november 1659. Dat schreef hij middenvoor op de rand van het afdakje. Toch betekent dat niet dat we hier de situatie van dat moment zien. Als uitgangspunt voor het schilderij gebruikte hij namelijk een tekening die hij al 23 jaar eerder ter plekke had gemaakt.
Saenredam woonde en werkte in Haarlem, maar was in 1632 twintig weken lang in Utrecht, waar hij verschillende tekeningen maakte van kerken, vooral van de Mariakerk. Deze gedetailleerde studies gebruikte hij nog jaren later als uitgangspunt voor zijn schilderijen.
De tekening die als voorbeeld diende voor dit schilderij met de datum 20 november 1659 draagt de dagtekening 12 juli 1636. Dat verklaart waarom we op het schilderij geen herfstachtig weer zien, maar een wolkenloze hemel en korte schaduwen van een hoogstaande zon(http://www.mauritshuis.nl/index.aspx?FilterId=974&ChapterId=1163&ContentId=14602).
Jacob van Ruisdael – Rijksmuseum SK-C-211. De molen bij Wijk bij Duurstede (1670)
Materials: oil on canvas. Dimensions: 83 x 101 cm. Inscriptions: signatuur rechtsonder: Ruisdael. Acquisition date: 1885-06-30. Sursa: http://www.geheugenvannederland.nl/?/en/items/RIJK01:SK-C-211/&p=1&i=4&st=ruisdael&sc=%28ruisdael%
De molen bij Wijk bij Duurstede. Links de rivier de Lek met een bootje, rechts de molen nabij de oever. In de verte de torens van kasteel Duurstede, rechts de toren van de Sint-Janskerk. Langs de oever lopen enkele vrouwen (http://www.rijksmuseum.nl/collectie/zoeken/asset.jsp?id=SK-C-211&lang=en).
Meindert Hobbema – Mauritshuis 0899. Landscape near Deventer/Landschap bij Deventer (c.1662-1663).
Materials: paneel/olieverf op paneel. Dimensions: 55 x 69.5 cm. Nr. 0899.Sursa: http://www.mauritshuis.nl/index.aspx?Contentid=19050&Chapterid=1104&Filterid=974
Jacob van Ruisdael – Private collection, Norfolk. The Castle at Bentheim (1651)
Materials: Oil on canvas. Dimensions: 97,7 x 81,3. Inscription: JvRuisdael/1651. RKD 50234. Sursa: http://www.mauritshuis.nl/Sites/Bentheim/01_Bentheim_groot.jpg
Meindert Hobbema – Mauritshuis 1061. Vakwerkhuizen onder bomen (c. 1665)
Materials: olieverf op paneel. Dimensions: 53 x 71 cm. Provenance: Art dealer Robert Noortman, Maastricht 1980. Nr.: 1061. Source: http://www.geheugenvannederland.nl/?/en/items/MAU01:1061/
Jacob van Ruisdael – National Gallery of Ireland NGI.4531. The Castle of Bentheim (1653)
Materials: oil on canvas. Dimensions: 110.5 x 144 cm. Nr.: NGI.4531. Presented, Sir Alfred and Lady Beit, 1987 (Beit Collection). Sursa: http://www.dialogos-studies.com/BIS/Ruisdael.htm
Around 1650, Van Ruisdael travelled to Westphalia, where Castle Bentheim is located. Having made drawings on the spot, he painted the fortress some fourteen times after his return home. This picture is regarded as the finest and most ambitious of Van Ruisdael’s depictions of the castle, and one of the masterpieces of his oeuvre.
In Van Ruisdael’s painting humanity is always secondary to the power of nature. In The Castle of Bentheim the figures are barely visible. By exaggerating the elevation of the hill, Van Ruisdael made the fortress look more impressive than it is in reality. Modern interpreters have suggested that it symbolises the eternal city on Mount Zion (http://onlinecollection.nationalgallery.ie/view/objects/asitem/People$00402291/3/sortNumber-asc?t:state:flow=39e37b8d-75cb-430e-ac99-b4d816c3df1e).
Jacob van Ruisdael – The Art Institute of Chicago. Potter Palmer Collection, 1947.475. Landscape with the Ruins of the Castle of Egmond (1650/55)
Materials: Oil on canvas. Dimensions: 38 7/8 x 51 3/8 in. (98 x 130 cm). Inscriptions:
Inscribed in lower right: JUR in ligature. Nr. Potter Palmer Collection, 1947.475. Source: http://www.artic.edu/aic/collections/artwork/60755?search_id=1
Jacob van Ruisdael – Rijksmuseum SK-A-349. Winterlandscape (1670)
Material: Oil on canvas. Dimensions: 42 x 49,7 cm. Aquistion: legaat. Acquistion date: 1870. Nr. Objectnummer SK-A-349. Inscription:signatuur rechtsonder: JVRuisdael. Source: http://www.rijksmuseum.nl/assetimage.jsp?id=SK-A-349
Jacob van Ruisdael, Nicolaes Berchem – Los Angeles County Museum of Art M.91.164.1. The Great Oak (1652)
Materials: oil on canvas. Dimensions: 86.4 x 106.7 cm. Nr.: M.91.164.1.. Gift of Mr. and Mrs. Edward W. Carter. Source: http://collectionsonline.lacma.org/mwebcgi/mweb.exe?request=record;id=69220;type=101.
Friends and traveling companions Jacob van Ruisdael and Nicolaes Berchem occasionally collaborated on paintings. Here Berchem’s figures of Italianate shepherds and travelers, including a gentleman and discharged soldiers, are strategically placed to suggest space and movement through Ruisdael’s light-filled, northern landscape. The monumental battered oak tree clinging to the sand dominates Ruisdael’s landscape both compositionally and thematically. By 1749 the painting was in Rome in the famous collection of Cardinal Silvio Valenti Gonzaga. (http://collectionsonline.lacma.org…)
Barend Cornelis Koekkoek – Art Gallery Simonis & Buunk, in stock. Upcoming storm (1843).
Materials: oil on panel. Dimensions: 65.5 x 83.7 cm. Inscriptions: signed l.r. and dated 1843. Nr.: 613228/Coll.III cv. Source: http://www.simonis-buunk.nl/collection/details/Barend_Cornelis_Koekkoek_13338.aspx. Provenance: coll. M. van Becelaer, 1848; kunsthandel Olthoff, ‘s-Gravenhage; kunsthandel Herinx, Brunssum, ca. 1938; H.J.G. Kreyen, Kerkrade; veiling Campo & Campo, Antwerpen, België, 4-6 dec. 1973; coll. P.D. Ketellappers, Brussel/Opicina (Italië), 1981; part. bezit Italië.
Literature: ‘Kunstkronijk’, 1848, pag. 78 (verslag tent. Levende Meesters 1848); F. Gorissen, ‘B.C. Koekkoek 1803-1862. Werkverzeichnis der Gemälde’, Düsseldorf 1962, cat.nr. 48/66 (met afb., foutief gedateerd 1848); tent.cat. Kleef, Duitsland, Städtisches Museum Haus Koekkoek, ‘B.C. Koekkoek 1803-1862: das malerische Werk’, 1962, cat.nr. 61; ‘Weltkunst’, 1973, pag. 2006. (http://www.simonis-buunk.nl/collection/details/Barend_Cornelis_Koekkoek_13338.aspx)
Jan van der Heyden – The Royal Collection RCIN 405950. The town of Veere with the Groote Kerk (c. 1660-1665)
Materials: oil on panel. Dimensions: 45.7 x 55.9 cm. Nr.: RCIN 405950. Inscriptions: Signed lower right corner: I. V. Heyde. Acquired by George IV when Prince of Wales. Source: http://www.artrenewal.org/pages/artwork.php?artworkid=23450&size=large
Veere was a small, walled and moated town in Zeeland on the strait between Walcheren and Noord Beveland. The Zeeland ports – Brielle, Vlissingen and Veere – still have a mythic significance for the Dutch as the first towns captured by the Sea Beggars from the Spanish during the Eighty Years’ War, in April and May 1572. However, it is clear from contemporary maps that this is no topographical view of Veere: the Groote Kerk is entirely accurate, as is the general effect of brick fortifications and drawbridges; however, the palace to the right and the circuit of high ground leading from it towards what appears to be a Roman aqueduct are all entirely imaginary. Van der Heyden used monuments from cities lying at some distance from his native Amsterdam – Cologne, Düsseldorf and Veere – more freely than local ones. His patrons, mostly also from Amsterdam, might recognise a far-off church, but would happily accept any urban context the artist chose for it. On the other hand this view has nothing of the caprice about it: it feels like a real Dutch town, whether or not the original owner knew it or thought of it as Veere.
There are untended, and therefore picturesque, elements in this city view – a beggar, some vegetation growing though old brickwork – but the general effect is of neatness, order, security and prosperity. This is a real version of those ideal chessboard cities painted by artists of the Italian Renaissance. To have had such a wide, brick-paved road outside the gates of a city would have seemed especially remarkable and should be compared with contemporary views of Rome. Text adapted from Dutch Landscapes, London, 2010 (http://www.royalcollection.org.uk)
Olivier van Deuren – London National Gallery NG2589. A Young Astronomer (c.1685)
Materials: oil on oak. Dimensions: 15.3 x 12.7 cm. Nr.: NG2589. Acquisition: Salting Bequest, 1910. Source: http://www.flickr.com/photos/gandalfsgallery/5555510902/in/photostream. The young astronomer holds a celestial globe with constellations shown in the form of animals. Among those visible are some of the northern and zodiacal constellations: at the top, Draco; on the left, Ursa Major and, below it, Leo; on the right, beneath the encircling brass ring, Bubuleus. The stand for the globe is on the right, and a quadrant is in the foreground.
The attribution and dating depend on the similarity of this picture with a painting of an astronomer, dated 1685 and signed by van Deuren (New York, Christophe Janet, 1978). The model and globe appear to be the same in both works (http://www.nationalgallery.org.uk/paintings/olivier-van-deuren-a-young-astronomer).
Meindert Hobbema – Rijksmuseum SK-A-156. Een watermolen/A watermill
Date: ? Material: paneel, olieverf. Dimensions: hoogte: 60.5 cm; breedte: 85 cm. Acquistion: legaat. Acquistion date: 1870. Number: SK-A-156
Inscription(s): signatuur linksonder: M. Hobbema. Source: http://www.rijksmuseum.nl/assetimage.jsp?id=SK-A-156
elsewhere 
