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 April, 2012

Canaletto – Dulwich Picture Gallery DPG600. A View of Walton Bridge (1854)

Materials: oil on canvas. Dimensions: 48.8 x 76.7 cm. Acquistion date: 1917 (gift of Miss E. Murray Smith). Nr.: DPG600. Source:…

The bridge over the river Thames at Walton had been constructed four years before this painting, to a daringly high-tech design. A coach crosses it; a boat lowers its mast to pass underneath the span. Thomas Hollis, the Whig MP who ordered the painting, has himself included in the foreground, along with a friend, a servant and a dog. This is a portrait of a specific person and a specific place; Canaletto even inserts himself as the artist on the stool, faithfully recording what is in front of him. But Canaletto finds more in England than an efficient infrastructure. The dark green of the ground, the complex grey cloud-mass with evening light breaking across it; these subtly-observed effects convey exactly the smell of damp grass in the air during a changeable English summer. The atmosphere is heavy, but the touch is light and decorative, the paint forming tiny blobs and trails like Murano glass. The wooden bridge was built in 1750 by Samuel Dicker MP whose house is one of those on the opposite bank; it was replaced with a brick and stone bridge in 1780. According to an inscription on the reverse of the original canvas, DPG600 was painted in London in 1754 for Thomas Hollis, one of Canaletto’s last major English patrons. An early catalogue of the Hollis collection describes the foreground figures as Hollis himself, his friend Thomas Brand, his Italian servant, and his dog ‘Malta’. The subject was repeated in a painting and drawing (both at the Yale Center for British Art, New Haven); these show a long, raised causeway leading to the bridge, which is omitted in DPG600 (

Ivan Shishkin – The Rybinsk State Museum of Architectural History and Art. Сосна на песке/Pine on Sand (1884)

Materials: oil on canvas. Dimensions: 69 x 105 cm. Nr.:? Inscriptions: signed with initials and dated. Source:…

Cornelis Springer, Kasparus Karsen – Rijksmuseum SK-A-4870. Gezicht op Den Haag, vanaf de Delftse vaart in de 17e eeuw (1852)

Materials: oil on canvas. Dimensions: 200 x 340 cm. Inscriptions: signatuur en datum: C. Springer 1852; signatuur: K Karsen. Nr.: SK-A-4870. Source:…

Gezicht op Den Haag, vanaf de Delftse vaart in de zeventiende eeuw. Links loopt een weg langs het water waar een molen staat en enkele wandelaars lopen, op een brug staat een man met een hengel. Rechts op het water een trekschuit. Vervaardigd ter opluistering van de feesten gehouden op 27 mei 1852 bij de gelegenheid van de onthulling van het standbeeld van Rembrandt (

Martín Rico y Ortega – Museo del Prado D07417. Title: A orillas del Guadaíra. Date: 1871.

Materials: watercolors on paper. Dimensions: 30 x 46 cm. Acquisition date: 1904 (Legado Ramón de Errazu). Nr.: D07417. Source: P.S. I have changed the contrast of the original photo.

Gerard van Nijmegen – Rijksmuseum Twenthe 4430. Landschap in de storm (1804)

Materials: oil on panel. Dimensions: 75 x 92 cm. Inscriptions: gemerkt rechts op rotsblok: ‘ G. van Nijmegen ‘. Nr.: inv. 4430. Source:…

Barend Cornelis Koekkoek – private collection? Unloading the barge in an undulating landscape (1831)

Materials: oil on canvas. Dimensions: 57 x 72.5 cm. Inscriptions: signed and dated ‘B.C. Koekkoek.ft.1831.’ (lower centre). Sold by Christie’s, lot 449, sale 2812, Amsterdam 2008. Source:…

Thomas Jones – The Berger Collection, hosted at the Denver Art Museum. A View of Certosa di San Martino with the Castel Sant’ Elmo, Naples (1782-1783)

Materials: oil on canvas. Dimensions: 44.5 x 85.7 cm. Acquistion date: 1997 (U.S.; Sotheby’s, New York, January 30, 1997, lot 167). Source:

Thomas Jones traveled to Italy in 1776, remaining for seven years, mainly dividing his time between Naples and Rome. He loved Naples in particular and painted its distinctive skyline repeatedly. He was especially interested in capturing the effect of sunlight on the lastricia, or flat roofs, of the city’s buildings. Jones sought out lodgings with a good view over the city. In May 1782, he finally found a small room: “in a little convent adjoining, called the Capella Vecchia, situated in the Borgo of the Chaja & very near Sr W’m Hamilton’s palace….The only window it had, looked into a small garden, and over a part of the suburbs, particularly the Capella Nuova, another convent the Porta di Chaja, Palace of villa Franca and part of the Hill of Pusillipo, with the Castle of St. Elmo & convent of St. Martino &c. all of which objects, I did not omit making finished studies of in oil upon primed paper.”

Jones’s description of the view from his room in the convent is close to that seen here. He probably painted this picture from an oil-on-paper sketch he had executed from the Capella Vecchia window (

Jacob van Ruisdael – The Fitzwilliam Museum 84. Landscape with a Blasted Tree near a House (c.1648)

Materials: oil on panel. Dimensions: 52.7 x 67.6 cm. signature (lower right; v Ruisdael (the v and R forming a monogram))date (lower right; 16… (the date has been read both 1647 and 1648, and 1649 has also been suggested as probable, but 1648 seems most likely to be correct, as a companion piece to the present picture is signed and dated in this year)). Acquistion date: 1864. Nr.: 84. Source:

Francesco Guardi – The Art Institute of Chicago 1991.112. The Garden of Palazzo Contarini dal Zaffo (late 1770s)

Materials: oil on canvas. Dimensions: 48 x 78 cm. Nr.: 1991.112. Source: P.S. I have changed the contrast of the original photo.

Meindert Hobbema – National Gallery (London) NG831. The Ruins of Brederode Castle (1671)

Materials: oil on canvas. Dimensions: 82 x 106 cm. Inscriptions: signed, dated. Nr.: NG831. Source:

Brederode Castle in Santpoort is about three miles north of Haarlem. It was built in the 13th century and finally destroyed in 1573. The view is largely unchanged since Hobbema painted it; the ruins and moat still exist in much the same state, though restored. The figures, especially those in the left foreground, and the ducks, are by another artist, possibly Dirck Wijntrack (before 1625 – 1678) (