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 November, 2011

Jacob van Ruisdael – National Gallery (London) NG1390. The Shore at Egmond-aan-Zee (c. 1675)

Egmond-aan-Zee, on the north sea coast to the west of Alkmaar, can be identified by its church (on the right of the picture), which survived until 1743, when it was engulfed by the sea. The painting is primarily a study of the natural forces of sea and sky, water and waves contrasted with the grey and white cloud formations. The figures, which are more prominent than is usual in van Ruisdael’s work, may be by the Amsterdam painter, Gerard van Battem (1636 – 1684).

Though mainly a specialist in landscapes, van Ruisdael also painted a number of seascapes and beach scenes. This painting is a late example, probably of the mid-1670s (

Salomon van Ruysdael – Mauritshuis 738. Riviergezicht met kerk en veerpont (1649)

Materials: oil on panel. Dimensions: 75 x 106.5 cm. Nr. 738. Source:

Alsof we als kijker zelf in een bootje zitten – vanuit dat gezichtspunt heeft Ruysdael de rivier weergegeven. Het water neemt de hele voorgrond in beslag. Ruysdael heeft maar één oever geschilderd en de horizon heel laag gehouden.
Met een eenvoudige, diagonale opbouw suggereert Ruysdael een wieds vergezicht. De oever gaat in drie ‘stappen’ de diepte in: van de boerderij en de grote boom linksvoor, via de kerk op het middenplan naar het kasteel in de verte. Met de figuurtjes heeft Ruysdael iets vergelijkbaars gedaan. Op de voorgrond vaart een pontje, vol met vee en mensen. Via de koeien aan de waterkant wordt het oog naar de grote zeilboot geleid en vandaar verder naar de einder.

Het water weerspiegelt alles. Niet alleen de bootjes en de bomen, maar ook de typisch Hollandse lucht met verwaaide wolken, die zo bepalend zijn voor de helder frisse sfeer die het schilderij uitstraalt (

Jacob van Ruisdael – private collection. Winter landscape (c. 1675)

Materials: oil on canvas. Dimensions: 39 x 42 cm. Source:

Meindert Hobbema – National Gallery (London) NG685. A Woody Landscape (1665)

Materials: oil on oak. Dimensions: 60.4 x 84.3 cm. Inscriptions: signed. Acquisition: bought 1862. Nr.: NG685. Source:

Christoffer Wilhelm Eckersberg – Statens Museum for Kunst KMS1621. Marmortrappen, som fører op til kirken Santa Maria in Aracoeli i Rom (Date: 1814/1816)

Materials: oil on canvas. Dimensions: 32.5 x 36.5 cm. Nr.: KMS1621. Aquisition date: 1898. Source:

Maleriet er udført efter, at Eckersberg i 1814 begyndte at male ude i det frie (se Hornung & Monrad, C. W. Eckersberg. Kbh 2005).

Proveniens: Til salg 1854 på Eckersbergs auktion (, men ikke solgt. Senere erhveret af Kunstforeningen. Bortloddet 4 februar 1858 til maleren C.F. Aagaard i Kunstforeningen. Købt af denne af Eckersbergs arvinger. Købt 1898 til Statens Museum af Kunsthandler Foltmar (

Bernardo Bellotto – National Gallery of Art 1993.8.1. The Fortress of Königstein (1756-1758)

Materials: oil on canvas. Dimensions: 133 x 235.7 cm. Nr.: 1993.8.1. Source:

The painting is one of five large views of an ancient fortress near Dresden commissioned from Bellotto by Augustus III, King of Poland and Elector of Saxony. The panorama encompasses a broad expanse of the picturesque, craggy landscape known as “Saxonian Switzerland,” which Bellotto invested with a monumental quality rarely seen in eighteenth-century Italian painting. The great castle sits atop a mountain that rises precipitously from the Elbe River Valley, hundreds of feet below. In the distance on the left is the Lilienstein, one of the prominent sandstone formations scattered across the countryside.

Bellotto began working at Königstein in the spring of 1756. He was commissioned to paint five views of the interior and exterior of the fortress that were intended to complete the twenty-five views of Dresden and Pirna he previously painted for the royal collection. His work was interrupted when Frederick II of Prussia opened hostilities in the Seven Years War by invading Saxony in August 1756. It is thought that Bellotto completed the canvases by 1758, but none were delivered to the court and all five paintings were recorded later in the century in England where two remain in a private collection and two in the City Art Gallery, Manchester (

Pieter Rudoph Kleijn – Rijksmuseum SK-A-646. De ingang van het park van St Cloud te Parijs (1809)

Materials: oil on canvas. Dimensions: 100 x 130 cm. Inscriptions: signatuur en datum: PRKleyn 1809;
inscriptie: Tableau de Mr P.R.Kleyn representant l’entrée du Parc de St. Cloud. Faict pour le Roi d’Hollande selon le règlement des pensionnaires le 2 Octobre 1809. Nr.: SK-A-646. Source:

Aert van der Neer – National Gallery NG2283. A Landscape with a River at Evening (c. 1650)

Materials: oil on canvas. Dimensions: 79 x 65.1 cm. Inscriptions: signed. Acquisition: Bequeathed by Martin H. Colnaghi, 1908. Source:

The sun appears to be setting beyond a river and its last rays are reflected on the figures and cattle in the foreground. The painting was probably executed in the late 1640s or early 1650s (

Nicolaes Berchem – Rijksmuseum SK-A-2317. Italiaans landschap (1650-1683)

Materials: oil on canvas. Dimensions: 65 x 81 cm. Inscriptions: Berchem. Nr.: SK-A-2317. Source:

Meindert Hobbema – National Gallery (London) NG833. A Stream by a Wood (c. 1663)

Materials: oil on oak. Dimensions: 31.4 x 40.1 cm. Acquisition date: 1871. Nr. NG833. Source:

This is a study for a composition elaborated in a larger picture by Hobbema (Rotterdam, Museum Boijmans Van Beuningen), which follows this design fairly closely but also includes a road with figures and a horizon on the left. The landscape is similar in technique and composition to paintings by the artist dated 1663 (Russborough, Beit Collection; Washington, National Gallery of Art). Both this picture and the Rotterdam version can probably be dated to about the same time: about 1663 (