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 January, 2012

Jacob van Ruisdael – Herzog Anton Ulrich-Museum. Hilly landscape with a large oak (after 1652)

Materials: oil on canvas. Dimensions: 106 x 138 cm. Nr.:? Source:

Canaletto – private collection. View of a River, perhaps in Padua (Date: 1745)

Materials:? Dimensions: ? Source:,_il_Canaletto_-_View_of_a_River,_Perhaps_in_Padua_-_WGA03933.jpg. P.S. I have changed the colors of the original photo.

Isaak Levitan – National Gallery of Armenia. Boulevard in the evening. Бульвар зимой (1883)

Materials: oil on canvas. Dimensions:? N.:? Source:

Abraham Teerlink – Rijksmuseum SK-A-4955. Gezicht in het park van de Villa Chigi bij Ariccia (1822)

Materials: oil on canvas. Dimensions: 101 x 141 cm. Inscriptions: signatuur en datum: Teerlink. Romae/ 1822. Nr.: SK-A-4955. Source:

Isaak Levitan – Tretyakov Gallery. Evening. The Golden Pool/Вечер. Золотой Плёс (1889)

Materials: oil on canvas. Dimensions: 84.2 x 142 cm. Nr.:? Source:

Плес – маленький заштатный городок на берегу Волги, где Левитан работал на протяжении трех лет (1888-1890). Здесь Левитан впервые нашел те мотивы и сюжеты, которые впоследствии увековечили его имя, а, заодно, и имя Плеса. Золотой Плес – один из шедевров, созданных Левитаном в это время. С поразительной чуткостью переданы в этом полотне ощущение умиротворенной тишины, мягкое сияние предзакатного света, нежное марево тумана, плывущего над спящей рекой… Все наполнено драгоценным чувством целостности и красоты бытия, и, кажется, что сейчас ударит колокол, и полотно задрожит в такт его ударам. Часть белого каменного дома с красной крышей некоторое время снимал Левитан. В наши дни в этом доме расположен Плесский государственный художественный музей-заповедник (

Jacob van Ruisdael – Cleveland Museum of Art 1967.63. Low Waterfall in a Wooded Landscape with a Dead Beech Tree (c. 1660-1670)

Materials: oil on canvas. Dimensions: 123 x 157 cm. Inscriptions: Signed lower left: JvRuisdael {JvR in monogram]. Nr.: 1967.63. Source:

Bernardo Bellotto – Staatliche Kunstsammlungen Dresden Gal.-Nr. 638. Die Trümmer der ehemaligen Kreuzkirche zu Dresden/The Ruins of the Old Kreuzkirche in Dresden (1765)

Materials: oil on canvas. Dimensions: 80 x 110 cm. Nr: Gal.-Nr. 638. Source: P.S. I have changed the colors of the original photo

The Church of the Holy Cross, the oldest in Dresden, had a catastrophe-prone history. In 1760 it suffered another setback, being shelled by Prussian artillery. The body of the church caught fire and collapsed. The tower survived. But five years later, with reconstruction work in progress, it too mostly fell down.

This is Bellotto’s subject, painted on the spot. The shell of the church tower rises out of a heap of its own rubble. The wreckage is fresh. There’s been no time for the softening influence of weather and vegetation. The fractures are still sharp, declaring the recent violence. The picture contrasts the standing up and the fallen down, the hard-edged vertical and the spreading amorphous mass.

And everywhere disorder disrupts order. It’s a spectacle of various kinds of chaos. There is the general tumbledown shape of the tower, as against its still imaginable upright form. There are the jaggedy details of its fracturing, as against the geometry of the surviving arches and perpendiculars. There’s the pile of rubble itself, a more or less regular pyramid, but made up of a random scatter of fragmented masonry and timber. Flanking the disaster area there’s a bank of new public buildings, emphatically straight-lined. But away in the distance on the left another irregularity appears, in the skyline silhouette of the older houses (TOM LUBBOCK, THE INDEPENDENT, FRIDAY 03 NOVEMBER 2006 =

Jan van der Heyden – National Gallery (London) NG866. A View in Cologne (about 1660-1665)

Materials: oil on oak. Dimensions: 33.1 x 42.9 cm. Aquisition date: 1871. Inscriptions: signed. Nr.: NG866. Source:…

The construction of Cologne Cathedral was begun in the middle of the 13th century, continued through the 14th and 15th centuries and was discontinued in the mid-16th century; it was only completed in 1842-80.

Here, the unfinished cathedral is seen from the west. The crane on top of the tower was already in position by the second half of the 15th century, and was not removed until 1868. As the surrounding buildings and streets no longer exist, it is not possible to determine the accuracy of this view. Parts of the cathedral are incorrectly rendered.

This painting is the earliest and best of a group of versions of this view (see also St Petersburg, Hermitage; London, Wallace Collection; Manchester, City Art Gallery). The figures may be by Adriaen van de Velde; their costumes suggest a date in the first half of the 1660s (

Canaletto – The Royal Collection RCIN 400524. Rome: The Pantheon (1742)

Materials: oil on canvas. Dimensions: 183.5 x 105.7 cm. Inscriptions: Signed and dated ANT.CANAL FECIT / ANNO MDCCXLII. Commissioned by Joseph Smith; from whom bought by George III, 1762. Nr.: RCIN 400524. Source: P.S. I have changed the colors of the original photo.

In 1742 Canaletto painted five upright views of Rome for Joseph Smith. Like an earlier set of Venetian views, they were probably designed for a particular room. They too may have arrived in London unframed, after their acquisition by George III in 1762, since they were hung in English frames in the Entrance Hall of Buckingham House – alongside the Venetian views. The Roman set includes the major sights of ancient Rome. The Pantheon, dedicated to all the gods, was the best preserved monument of ancient Rome and the greatest symbol of the Empire. The glory of an imperial age now long past is suggested by the heaviness of the architecture, which emerges from deep shadows and shows the ravages of time. The vertical format, the low viewpoint and the admiring group of visitors on the Grand Tour emphasise this sense of a monumental past, the brightly clad figures contrasting with the browns of the stonework.

The prominent signatures are the first in Canaletto’s work and are unusual. It has been suggested that artist and patron wanted to promote a new subject at a time when the War of the Austrian Succession had greatly reduced the number of visitors to Venice. There is no record of Canaletto visiting Rome again after his youthful visit in 1719-20. For these paintings he may have relied on prints or the drawings he made in Rome in his youth. It has also been suggested that Canaletto’s nephew, Bernardo Bellotto, with whom he was closely associated, may have supplied material to his uncle. Bellotto was in Rome in 1742, returning to Venice in that year or in 1743.

The first temple on the site of the Pantheon was built in 27 BC by Agrippa, but the existing building with its dedicatory inscription was erected by Hadrian in the second century AD. It was one of the few monuments of pagan antiquity to be converted into a church in the seventeenth century. Its thirteenth-century campanile was replaced by bell towers in the seventeenth century. The fountain is shown without the obelisk bearing the arms of Pope Clement XI installed in 1711. Canaletto set out the architecture by ruling and incising. The figures are less integral to the scene than in the earlier set of views. The prosaic cart in the right foreground contrasts with the ebullience of the coach and horses arriving behind. The influence of Bellotto and of Gian Paolo Panini’s contemporary views of Rome has been traced in such details (

Jacob van Ruisdael – Museum of Fine Arts (Boston) 39.794. View of Alkmaar (c. 1670-1675)

Materials: oil on canvas. Dimensions: 44.5 x 43.5 cm. Inscriptions: Lower left: Ruisdael. Acquisition date: 1939. Nr.:39.794. Source:

Isaak Levitan – Tretyakov Gallery (?, not on the site of the museum). Birch Forest/Березовая роща (1885)

Materials: oil on paper. Dimensions: 28.5 x 50 cm. Nr.:? Source:

Christoffer Wilhelm Eckersberg – Statens Museum for Kunst KMS1346. Udsigt over Tiberen fra Trastevere uden for Ospedale di S. Spirito. I baggrunden Castel S. Angelo og Ponte S. Angelo (1815-1816)

Materials: oil on canvas. Dimensions: 28.5 x 44 cm. Acquisition date: 1889. Nr.: KMS1346.. Source:

Ivan Shishin – State Museum of Fine Arts of Tatarstan Republic. At the Summer Cottage/ Около дачи (1894)

Materials: oil on canvas. Dimensions: 105.5 x 73.5 cm. Nr.:? Source:

Jacob van Ruisdael – The Cleveland Museum of Art 1962.256. Landscape with a Church by a Torrent (c. 1670)

Materials: oil on canvas. Dimensions: 100.3 x 83.8 cm. Inscriptions: Signed lower right: JvRuisdael [JvR in monogram]. Nr: 1962.256. Source:

“Landscape With a Church by a Torrent,” painted around 1670, may indicate the rocky obstacles that need to be surmounted before the faithful can reach salvation. Seydl believes the logs by the far bank of the stream – once living trees – impart a sense of urgency about the brevity of life (

Canaletto – Collection of the Duke of Northumberland. Alnwick Castle (c. 1746-1752)

Materials: oil on canvas. Dimensions: 113.5 x 139.5. Nr.:? Source:

Jacob van Ruisdael – The Cleveland Museum of Art 1967.19. Landscape with a Windmill (1646)

Materials: oil on panel. Dimensions: 69 x 88.5 cm. Inscriptions: Signed lower right: JvR 1646 [JvR in monogram]. Nr.: 1967.19. Source:

A windmill-flanked by trees, a smoking chimney, and a decorative wooden fence-dominates the right side of this composition. All these elements are heavily silhouetted in dark tones, forming a sharp contrast with the delicate, warmly lit landscape in the left background. Painted when the artist was only about 18 years old, the painting shows the somber moodiness and emotional sensitivity to nature that would characterize Ruisdael’s mature works (

Jacob van Ruisdael – The Cleveland Museum of Art 1963.575. Wooded and Hilly Landscape (1660s)

Materials: oil on canvas. Dimensions: 51.6 x 59.4 cm. Inscriptions: Signed lower left: JvRuisdael [JvR in monogram]. Nr.: 1963.575. Source:

With much of this painting’s composition dedicated to nature alone, an underlying sense of sublimity is heightened by Ruisdael through the inclusion of several diminutive figures. A mother and child trudge through a weathered path in the foreground, their pet dog following closely at their side, while a lone traveler approaches from the foliage ahead of them.

This work is an excellent representation of the artist’s later period, speaking to both his preoccupation with meticulous detail and the transitory relationship between humans and nature.

–Charles Eppley (January 2009) (

… is astonishing not only for its luminous quality of light and lively brushwork, but also for the almost scientific specificity of its imagery. Seydl said botanists can identify the species of oak in the painting, for example (

Christoffer Wilhelm Eckersberg – Statens Museum for Kunst KMS7383. Porta Angelica og en del af Vatikanet (1813)

Materials: oil on canvas. Dimensions: 31.7 x 41.3 cm. Inscriptions: på bagsiden, C. V. Eckersberg Rom 1814 (Ikke egenhændig). Acquisition date: 1986. Nr.: KMS7383. Source:,%20Christoffer%. 20Wilhelm%20Rome,%20Porta%20Angelica%20and%20Part%20of%20the%20Vatican%201813%20Cph%20][.jpg. P.S. I have changed the contrast of the original photo.

Canaletto – Compton Verney Collection. The Grand Walk, Vauxhall Gardens, London (c. 1751)

Materials: oil on canvas. Dimensions: 51 x 76 cm. Nr.: ? Source:

n 1746, Venetian painter, etcher and draughtsman Canaletto moved to Britain, hoping to secure patronage from many of those who had been on the Grand Tour and for whom he had worked in Italy. Vauxhall Gardens was one of the most fashionable venues for public entertainment in London.

Located in Kennington on the south bank of the River Thames and known as New Spring Gardens until 1785, Vauxhall Gardens became a venue for musical performances, including George Frederick Handel’s ‘Music for the Royal Fireworks’ in 1749, which attracted an audience of over 12,000 (

Isaak Levitan – Tretyakov Gallery. The Vladimirka Road (1892)

Materials: oil on canvas. Dimensions: 79 x 123 cm. Nr.:? Source:

The Vladimir Road, or ‘Vladimirka’ as it was commonly known, was the infamous route by which those condemned to Siberian exile travelled. In May 1892 Levitan and the artist Sofia Kuvshinnikova were living in the village of Gorodok, near Boldino, in Vladimirskaya Province about 160 kilometres north east of Moscow. It was here that Levitan conceived the painting and completed his first sketches. Kuvshinnikova’s memoirs describe its genesis:

“One day, returning from the hunt, Levitan and I happened across the old Vladimir Road, a scene filled with quiet charm; a long strip of road … running through villages and heading into the blue remoteness. In the distance two churchgoers, and an old dilapidated building with a weather-beaten icon that spoke of an age long forgotten. Everything looked so comfortable, so welcoming. Then suddenly Levitan recalled what road this was … the Vladimir Road, the very same highway along which the clinking of shackles was once heard, as all those unfortunate souls made their way to Siberia … and that quiet poetic scene was suddenly shot through with a profound undercurrent of melancholy.” (–banbrytare-i-ryskt-maleri/Isaak-Levitan-Vagen-till-Vladimir-1892)