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 October, 2011

Canaletto – The National Gallery (London) NG127. The Stonemason’s Yard/Venice: Campo S. Vidal and Santa Maria della Carità (about 1725)

Materials: oil on canvas. Dimensions: 123.8 x 162.9 cm. Acquisition: Sir George Beaumont Gift, 1823; passed to the National Gallery, 1828. Nr.: NG127.

‘The Stonemason’s Yard’ is considered one of Canaletto’s finest works. The view is one across the Campo (small square) S. Vidal, looking over the Grand Canal to the church of S. Maria della Carità (Saint Mary of Charity). The square has been temporarily transformed into a workshop for repairing the nearby church (not seen in the picture) of S. Vidal. The blocks of Istrian stone were brought by water to the square. The ‘campanile’ (bell-tower) of the church of S. Maria della Carità on the far side of the Grand Canal collapsed in 1744, after the painting was made, and was not rebuilt.

The painting is not precisely datable but the bold composition, the densely applied paint and the careful execution of the figures are characteristic of Canaletto’s works of the mid- to late 1720s. The informal nature of the scene and the unusual view across the Grand Canal suggest that it was made for a local Venetian patron rather than a foreign visitor to Venice

Ivan Shishkin – Russian Museum. Landscape with a Hunter. Valaam Island/. Пейзаж с охотником. Остров Валаам (1867)

Materials: oil on canvas. Dimensions: ? Nr.:? Not found on the museum site.

Человеческие фигуры – редкие гости в работах Шишкина. Он предпочитал писать природу, живущую по своим естественным законам, не искаженным деятельностью человека. В крайнем случае, он дает лишь приметы близкого или не очень близкого человеческого присутствия – в виде натоптанной дороги, покосившейся изгороди и т. д. Но иногда (по большей части, это относится к 1860-м годам) все-таки люди появляются в его пейзажах – как правило, “окультуренных”. Тогда картина перестает быть чистым пейзажем и, дополненная элементами живой жанровой сцены, оказывается в жанровом пограничье. Таковы, например, полотна “Пейзаж с охотником”, 1867 и “Прогулка в лесу”, 1869. В первом случае человек практически теряется в северном (о чем говорят огромные обросшие мхом валуны) пейзаже; во втором – напротив, люди становятся смысловым центром, превращающим работу в типичный жанр (

Allaert van Everdingen – Rijksmuseum SK-A-108. Zweeds landschap (c. 1650-1675)

Materials: oil on canvas. Dimensions: 48 x 62.5 cm. Inscriptions: signatuur: Everdingen. Nr.: SK-A-108. Source: P.S. I have changed the light and contrast of the original photo.

Op de voorgrond links een boerderij aan het water, rechts de rand van een bos met een wandelaar op een pad bij een hoge smalle den. In de verte ligt een dorp (

Jan van der Heyden – National Gallery (London) NG993. A Farm among Trees (c. 1670)

Materials: oil on oak. Dimensions: 22.1 x 28.8 cm. Acquisition: Wynn Ellis Bequest, 1876. Nr.: NG993. Source: P.S. I have modified the light and the contrast of the original photo.

The farm is beside a river; two figures sit outside it on the far bank. Although he specialised in town views, van der Heyden painted a few delicate landcapes, of which this is an outstanding example.

This is the only landscape painting by Jan van der Heyden in the Gallery. He lived and worked in Amsterdam, but visited other parts of Holland, Flanders and the Rhineland (

Meindert Hobbema – National Gallery (London) NG830. The Avenue at Middelharnis (1689)

Materials: oil on canvas. Dimensions: 103.5 x 141 cm. Inscriptions: signed, dated. Acquisition date: 1871. Source:

The painting shows the village and church of Middelharnis in the province of South Holland. The view is remarkably accurate and has hardly changed since the 17th century. Hobbema’s design with the avenue of trees receding towards the centre of the picture is simple yet at the same time majestic. The trees are employed to mark the quick recession from foreground to background while the expanse of sky is emphasised by the upward-pointing trees. Unfortunately the paint of the sky was damaged by cleaning some time in the 19th century; the billowing cloud to the right is the best preserved section.

Before 1660, Hobbema had been the pupil of Jacob van Ruisdael. However, by 1689 Hobbema was not painting for a living anymore. In 1668 he had obtained a well-paid job with the wine-importers’ association of Amsterdam, and from then on seems to have painted only occasionally. The present painting is one of only a handful of pictures from this period (

Jan van Goyen – Mauritshuis 624. Riviermonding met zelschepen (1655)

Materials: oil on panel. Dimensions: 41.2 x 55.8 cm. Source:

Salomon van Ruysdael – Mauritshuis 699. Riviergezicht met een man die op eenden jaagt (1648)

Materials: oil on panel. Dimensions: 47.3 x 69 cm. Nr.: 699. Source:

Allaert van Everdingen – Rijksmuseum SK-A-1510. De geschutgieterij van Hendrik Trip te Julitabroeck, Södermanland, Zweden (1650-1675)

Materials: oil on canvas. Dimensions: 192 x 254.5 cm. Nr.: SK-A-1510. Source:

Uitgestrekt landschap met een overzicht van de fabrieken aan de voeten van een heuvelrug. In het midden een windmolen op een heuveltje. Geschilderd voor plaatsing in het Trippenhuis te Amsterdam (

Jacob van Ruisdael – National Gallery (London) NG44. A Bleaching Ground in a Hollow by a Cottage (1645-1650)

Materials: oil on oak. Dimensions: 52.5 x 67.8 cm. Inscriptions: signed. Acquisition: Bequeathed by Sir John May, 1854. Nr.: NG44. Source:

In the 17th century, the bleaching of linen was one of the main industries of Haarlem, whose bleaching grounds were considered to be the best in Europe. Here the long lengths of fabric can be seen spread on the ground.

This landscape was probably painted in the late 1640s before van Ruisdael left his native Haarlem for Amsterdam (

Ivan Shishkin – Tretyakov Gallery. The Forest Horizons/Лесные горизонты (1884)

Materials:? Dimensions: 112.8 x 164 cm. Nr.: ? Source:

The painting is dedicated to nature in the Urals. The artist has chosen a perspective from on high, striving to depict not so much a specific place as to create an image of the country as a whole. Space is built up in precise planes which draw the regard of the viewer into the distance, to the silvery lake in the centre of the composition. The groups of trees merge and flow from one into another like waves on the sea. For Shishkin the forest is a primary element of the universe, like the sea and the sky, but at the same time it is the national symbol of Russia. One critic wrote about this painting: “The distant perspective of the forests, covered in a light mist, and rising in the distance over the surface of the water, the sky, the air – in a word, the entire panorama of Russian nature with its beauty that is so very striking, – all of this is depicted on the canvas with amazing mastery.” In this work the artist resorted to the methods of plein air. The epic image of nature is in no way diminished by the mild and free painterly manner. The painting was done at a time when the artist began to be interested in the problems of plein air. While preserving the epic image of nature, Shishkin’s painting became milder and freer (

Canaletto – National Gallery (London) NG942. Eton College (c. 1754)

Materials: oil on canvas. Dimensions: 61.6 x 107.7 cm. Acquisition: Wynn Ellis Bequest, 1876. Nr.: NG942. Source:

The school is here shown from the east; it is viewed from across the river Thames. The general position of the chapel appears as it would be seen from this direction, but many of the other details of the buildings are invented.

The painting is dated on grounds of style. Canaletto was staying nearby at Windsor in 1747, but this seems to be a later work (

Joos de Momper (II) – Rijksmuseum SK-A-3949. Rivierlandschap met everzwijnjacht (c. 1590 – c. 1635)

Materials: oil on panel. Dimensions: 121 x 196.5 cm. Nr.: SK-A-3949. Source:

Weids rivierlandschap met everzwijnenjacht. Landschap met een stad gelegen aan een rivier of meer in een vallei. Op het water bevinden zich enkele schepen. Op de voorgrond doden jagers te paard en honden een everzwijn. Rechts een ruiter op een houten brug, op de heuveltoppen staan kastelen (

Jacob van Ruisdael – National Gallery (London) NG2565. A Cottage and a Hayrick by a River (1646-1650)

Materials: oil on oak. Dimensions: 26 x 33.4 cm. Acquisition: Salting Bequest, 1910. Nr.: NG2565. Source:

Jacob van Ruisdael’s early work, like this delicate landscape of the 1640s, is often influenced by the style of his uncle, Salomon van Ruysdael, who may have been one of his teachers. This river landscape is characteristic of Salomon’s compositions.

In the late 18th and 19th centuries this picture had a companion piece, ‘A Cornfield’, the present location of which is unknown. A drawing related to the composition of the National Gallery’s painting is known and a variant survives in Detroit (Institute of Arts) (

Jan Both – Museo del Prado P02066. Paisaje con pescadores y pastores a la orilla de un río (1639-1641)

Materials: oil on canvas. Dimensions: 210 x 155 cm. Provenience: Colección Real. Nr: P02066. Source:

Ingresó en el Museo como original de Jan Both, atribución que han mantenido los catálogos posteriores y es aceptada por todos los autores.Este paisaje supone una excepción dentro del conjunto de los encargados en Roma para el Palacio del Buen Retiro, por cuanto que es el único que representa un paisaje agreste, que, además, no se abre hacia la lejanía, sino que el fondo queda abruptamente cerrado por una montaña sobre la que sólo se ve el cielo. El espacio está encajonado entre sendas paredes montañosas, entre las que corre un arroyo en zigzag desde el fondo hasta el primer plano, donde están colocadas las figuras de los pescadores y pastores. Todo ello le confiere un dramatismo ajeno al tono idílico de los otros paisajes de este conjunto, y, en general, de los paisajes holandeses e italianos coetáneos. Un dibujo de Claudio de Lorena (Roethlisberger 1968, nº 438) permite identificar el lugar como Cascatelle, situado al sur de Tívoli. Según Steland, la cascada como tema iconográfico inspirado en Tívoli fue introducido en Roma por Herman van Swanevelt, Jan Both y Jan Asselijn. Comparte con los dos paisajes anteriores una cálida iluminación naturalista que unifica el conjunto. Desde el punto de vista pictórico, el tratamiento de las rocas y de las hojas se corresponde al de los cuadros que Both pintó en Italia. La imagen radiográfica revela que las figuras están añadidas al paisaje, pero su tratamiento es más denso que el las figuras de los paisajes anteriores. En los catálogos antiguos del Museo están atribuidas a Jan Miel. Burke (1976) las considera de Andries Both. Sin embargo, el tratamiento del torso desnudo del pescador con el pie en el agua es muy similar al de la figura con el torso desnudo en Vista del Tiber o incluso a las de Mercurio y Argos de uno de los paisajes de Van Swanevelt de la Gallería Barberini, pero que Salerno (II, nº 65.6) atribuye a Both.

Existen dos variaciones de este paisaje, ambas firmadas por Both: en la colección Vaughan-Morgan y en una colección privada austríaca.

En 1701 figuraba todavía en el Palacio del Buen Retiro. Después de 1747 fue enviado al Palacio Real de MAdrid, donde está consignado en 1772. en 1794 volvió a figurar en el Buen Retiro y en 1814 estaba de nuevo en el Palacio Real, atribuido a Benito Manuel Agüero. Desde allí es enviado al Museo antes de 1834 (

Jan van der Heyden – Mauritshuis 53. De St Andreaskerk te Düsseldorf (1667)

Materials: oil on panel. Dimensions: 51 x 63.5 cm. Nr.: 53. Source:

Jan van der Heyden – Mauritshuis 815. De kerk van Veere (1660-1670)

Materials: oil on canvas. Dimensions: 31.5 x 36 cm. Nr. 815. Source:

Jacob van Ruisdael – National Gallery (London) NG2563. A Road leading into a Wood (c. 1655-60)

Materials: oil on canvas. Dimensions: 54.5 x 71 cm. Inscriptions: signed. Aquisition: Salting Bequest, 1910. Nr.: NG2563. Source:

The landscape, with its winding road leading to a sunlit clearing in the middle distance, is somewhat reminiscent of Hobbema’s work. This painting was formerly thought to be by a follower of Jacob van Ruisdael, but it is now considered to be by Ruisdael himself. The figures were painted on top of the landscape and have been attributed to another artist, but are probably also the work of Ruisdael himself.

A date in the second half of the 1650s has been suggested. There is a variant of the composition in the collection of the Duke of Sutherland (

Jacob van Ruisdael – Rijksmuseum SK-A-3343. Landschap met ruïnes (1682)

Materials: oil on canvas. Dimensions: 53 x 66 cm. Aquisition date: 1940. Nr.: SK-A-3343. Inscriptions: signatuur linksonder: JvRuisdael. Source:

Meindert Hobbema – Rijksmuseum SK-C-1627 (???, not on the site of Rijksmuseum, not in RKD). Landschap met hengelaar (1664)

Materials: oil on canvas. Dimensions: 82.6 x 106.6 cm. Nr.: SK-C-1627. Source:

Both – Rijksmuseum SK-A-52. Italiaans landschap met overzetveer (1652)

Materials: oil on canvas. Dimensions: 76 x 91 cm. Acquisition date: 1808. Inscriptions: signatuur rechts op de boomstam: JBoth. Nr.: SK-A-52. Source:

Jacob van Ruisdael – National Galley (London) NG855. A Waterfall at the Foot of a Hill, near a Village (1665-1670)

Materials: oil on canvas. Dimensions: 84.8 x 100 cm. Inscriptions: signed. Acquisition date: 1871. Nr.: NG855. Source:

On the hill is the spire of a village church, and other buildings. To the left sheep are being herded over a wooden bridge spanning a ravine.

Ruisdael painted a number of imaginary mountainous landscapes with a waterfall rushing towards the lower edge of the picture. This subject was introduced into Dutch painting by Allart van Everdingen, who visited Scandinavia in 1644.

On grounds of style the landscape has been dated to the second half of the 1660s, when Ruisdael was living in Amsterdam (

Carl Rottmann – Neue Pinakothek (München) WAF 866. Olympia (1839)

Materials: Wachs-Harzmalerei auf Putztafel. Dimensions: 161.5 x 205.6 cm. Nr.: Inv. Nr. WAF 866. Source:

Die Segnungen der Gemeinschaft gleicher Sitten und gleicher Denkweise hatten bei den Griechen ihren eigenthümlichen Ausdruck in großen Volksfesten und Festspielen gefunden, unter denen die berühmtesten und gefeiertsten die zu Olympia waren, die sich alle 4 Jahre daselbst wiederholten und von solcher Bedeutung wurden, daß der Griechen Zeitrechnung sich nach ihnen bestimmte. Im Herzen Griechenlands fand das Bedürfniß, sich auszutauschen, seine heimische Stätte. Ein friedliches Thal, von stillem Bächlein durchflossen, sanfte Hügel mit schattigem Wald bekrönt, über welche schaulustig der Berg Olenus sein Haupt erhebt, war der Mittelpunkt dieser Festlichkeiten geworden. – Hier hatte der geheiligte Meißel des Phidias in dem Bilde des Jupiter Olympios sein höchstes Werk erreicht. Jeder Grieche war von Sehnsucht voll, wenigstens einmal in seinem Leben dieser Hoheit nahe gestanden zu sein. Tausende von Wallfahrern zogen dahin und manche kehrten sieggekrönt zu ihrer Heimat zurück. […] Baureste sind in dem Bilde keine zu sehen; sind doch die Trümmer des Olympischen Tempels bis auf wenige Spuren verschwunden. (Aus: Die Griechischen Landschaftsgemälde von Karl Rottmann in der neuen königlichen Pinakothek zu München beschrieben von Ludwig Lange, München 1854) (

Jan Both – Rijksmuseum SK-A-49. Italiaans landschap met gezicht op een haven (1640-1652)

Materials: oil on panel. Dimensions: 80.5 x 102.5 cm. Acquisition date: 1870. Inscriptions: signatuur links op een rots: JBoth.
Nr. SK-A-49. Source:

Jan Both – Mauritshuis 21. Italiaans landschap (c. 1645)

Materials: oil on copper. Dimensions: 51 x 70 cm. Nr.: 21. Source: