Mostly landscape and cityscape paintings. For a tag cloud of the painters see bottom of the page. Because the tag cloud allows only 45 names, all the painters are are included in the category list at bottom of the page.

Archive for August, 2011

Barend Cornelis Koekkoek – Rijksmuseum SK-C-165. Winterlandschap (1835-1838)

Materials: oil on canvas. Dimensions: 62 x 75 cm. Inscriptions: signatuur: B.C. Koekkoek f. Nr.: SK-C-165. Source:

Gezicht op een brede laan, met sneeuw bedekt, die langs een bos voert. Op de voorgrond drie jongens met sleden. Meer naar achteren staat een wagen getrokken door twee paarden op de weg voor een boerderij.

De Hollandse meesters van een Amsterdamse bankier : de verzameling van Adriaan van der Hoop (1778-1854), 39
Poëzie der werkelijkheid : Nederlandse schilders van de negentiende eeuw, p. 129, pl. 73 (


Martin Rico y Ortega – Museo del Prado P07163. Vista de París desde el Trocadero (1883)

Materials: oil on canvas. Dimensions: 79 x 160 cm. Acquisition: Legado marquesa de Manzanedo, 1987. Nr.: P07163. Source:…

Desde el mirador de un jardín, aparece una amplia vista de París, con algunos de sus monumentos más reconocibles, como el Hospital de los Inválidos, el Panteón o las torres de la Catedral de Notre Dâme, al fondo.

Realizada durante el año que pasó en la capital francesa, la pintura responde a las características técnicas que hicieron de los paisajes urbanos de este pintor las pinturas más admiradas por coleccionistas contemporáneos. El toque rápido de pincelada corta produce una impresión de frescura y realidad centrándose en detalles precisos como el jarrón sobre la balaustrada o la variedad identificable de la flora.

Sin embargo, como es habitual en los pintores de “vistas”, falsea creativamente la posición exacta de algunos de los edificios o inventa perspectivas irreales que no desmerecen su identificación (

Jan Both – National Gallery (London) NG956. A Rocky Italian Landscape with Herdsmen and Muleteers (c. 1645)

Materials: oil on canvas. Dimensions: 103 x 125 cm. Aquisition: Wynn Ellis Bequest, 1876. Nr. NG956. Source:

Jan Both used sketches he had made during his sojourn in Italy for a series of idyllic landscapes suffused by rich, golden light. This landscape shows a mountain pass in the countryside near Rome, but it was painted after Both’s return from the south.

It is thought to have been executed in the mid-1640s. Two variants of the composition are recorded (

Nicolas Poussin – National Gallery (London) NG40. Landscape with a man washing his feet at a fountain (c. 1648)

Materials: oil on canvas. Dimensions: 74 x 100.3 cm. Acquisition: Presented by Sir George Beaumont, 1826. Nr.: NG40. Source:

The status of this picture has been questioned in the past, but it is now generally accepted as original. It has been suggested that the picture shows the Vale of Tempe in Thessaly as described by the ancient author Aelian in the ‘Varia Historia’.

Probably painted in the late 1640s for Jean Pointel (died 1660), a Paris merchant who was one of Poussin’s principal patrons. The painting was admired by John Constable who wrote that it was ‘the most affecting picture I almost ever stood before’ (

Jacob van Ruisdael – National Galley NG627. A Waterfall in a Rocky Landscape (c. 1660-1670)

Materials: oil on canvas. Dimensions: 98.5 x 85 cm. Aquisition date: 1859. Nr. NG627. Source:

Although the signature was apparently added later, this painting is the work of Jacob van Ruisdael. Ruisdael painted many waterfalls from the late 1650s onwards. In the past it had been assumed that he himself must have travelled to Northern Europe where he would have seen this type of landscape. However, no such trip has been recorded and, instead, his paintings were inspired by the Amsterdam landscape painter Allart van Everdingen, who had visited Scandinavia in 1644 and had made a number of drawings of rocky mountainous scenes with torrents and waterfalls (

Aelbert Cuyp – National Gallery (London) NG6522. River Landscape with Horseman and Peasants (1658-1660)

Materials: oil on canvas. Dimensions: 123 x 241 cm. Aquisition: Bought with the assistance of the National Heritage Memorial Fund and The Art Fund, 1989. Nr. NG6522. Source:

This painting is one of the greatest 17th-century Dutch landscapes. It is the largest surviving landscape by Cuyp, and arguably the most beautiful. The entire scene is bathed in a gentle sunlight, harmonising all the elements, natural, animal and human. The quality of the light is Italianate. However, Cuyp never travelled to Italy, and he must have acquired this interest from Dutch contemporaries who did, such as Jan Both.

This design is focused more directly on the landscape than in earlier paintings by Cuyp on the same scale, and the figures and animals are more minutely painted. The low sunlit mountains which dominate the peaceful scene are not a feature of the Dutch landscape, but based on mountains seen by Cuyp on his travels in the early 1650s.

According to the painter Benjamin West, it was this picture, acquired by the Earl of Bute in the early 1760s, that began the rage for Cuyp among British collectors in the 18th and 19th centuries. His popularity came to rival that of Claude. Many of his best paintings were imported into Britain and still remain here (

Meindert Hobbema – National Gallery (London) NG 995. A Woody Landscape with a Cottage (1665)

Materials: oil on canvas. Dimensions: 99.5 x 130.5 cm. Acquisition: Wynn Ellis Bequest, 1876. Nr.: NG 995. Source:

This is one of Hobbema’s favourite compositions. Three other versions with slight differences are known (Washington, National Gallery of Art; The Hague, Mauritshuis; formerly England, Robarts collection). Hobbema’s composition shows a domestic landscape of trees, houses and villagers. The narrow path leads to a clearing illuminated by strong sunlight. There are picturesque farm buildings and prominently placed figures.

At about this date Hobbema was developing his style away from that of his teacher Ruisdael. His landscapes became increasingly decorative both in colour and composition (

Pieter Saenredam – Museum Bojimans Van Beuningen 1765. Gezicht op de Mariaplaats en de Mariakerk te Utrecht (1662)

Materials: oil on panel. Dimensions: 109.5 x 139.5 cm. Aquisition date: 1872. Source:

Op dit stadsgezicht van Utrecht zijn in het midden de Domtoren, links de toren van de Buurkerk en rechts de Mariakerk te zien. Door de uitvoerige documentatie van Pieter Saenredam op zijn tekeningen, constructietekeningen en schilderijen kunnen we de ontstaansgeschiedenis van zijn werken goed volgen. Zo heeft hij de voorstudie voor dit schilderij in 1636 in Utrecht gemaakt. Het paneel is echter 1662 gedateerd, dat is dus 26 jaar nadat hij de tekening maakte (

Jacob Abels – Rademakers collection RC01:RC066 (paneel). River and mill in the moonlight /Rivier en molen in maneschijn (1850)

Materials: oil on panel. Dimensions: 35 x 46 cm. Nr.: RC01:RC066 (paneel). Source:

Jan Evert Morel II – Rademakers collection RC01:RC035 (paneel). Panoramic landscape (?, 1855-1905)

Materials: oil on panel. Dimensions 28 x 44 cm. Nr. RC01:RC035 (paneel). Source: