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, 2012

Leo von Klenze – Städtische Galerie im Lenbachhaus (the museum is closed until 2013). Innere Ansicht der Insel Capri (1833)

Materials: oil on canvas. Dimensions: 74 x 99 cm. Nr.:? Source: images.zeno.org/Kunstwerke/I/big/78e059a.jpg.


Jacob van Ruisdael – Staatliche Kunstsammlungen Dresden (not on their site). The Cloister (1650-1655)

Materials: oil on canvas. Dimensions: 75 x 96 cm. Nr.? Source: picasaweb.google.com/lh/view?q=ruisdael+cloister#52925188….


Barend Cornelis Koekkoek – private collection? A herdsman and his cattle resting under an oak tree, a ruin in the distance (1850)

Materials: oil on panel. Dimensions: 66 x 83.5 cm. Sold by Christie’s, Amsterdam, October 14, 2008 (sale 2801, lot 255). Source: arthistoryreference.com/007/la/033.jpg. P.S. I have changed the light, colors and contrast of the original photo.


Jacob van Ruisdael – Metropolitan Museum of Art 65.181.10. Landscape with a Village in the Distance (1646)

Materials: oil on wood. Dimensions: 76.2 x 109.2 cm. Inscriptions: signed and dated (lower right): Jv Ru[i]sdael [initials in monogram] 1646. Acquisition date: 1965 (Bequest of Adele L. Lehman, in memory of Arthur Lehman, 1965). Nr.: 65.181.10. Source: images.metmuseum.org/CRDImages/ep/original/DP145939.jpg. P.S. I have changed the contrast of the original photo.

This ambitious picture is one of the earliest known works by Van Ruisdael, who was about eighteen years old when he painted fifteen known landscapes that are dated 1646. While this painting is consistent in execution with contemporary works by the artist, its bold composition and loose handling of such passages as the entire foreground make a rather rash impression compared with that of pictures like Landscape with a Windmill (Cleveland Museum of Art) or Landscape with a Cottage and Trees (Kunsthalle, Hamburg), both also of 1646. In his youthful works, Van Ruisdael’s tendency to exaggerate dramatic effects occasionally produced awkward results. Here, for example, the silhouetted trees and rough terrain in the foreground seem somewhat contrived, in contrast to the view of a village in the left background. The source of the stream that runs along the bottom center of the composition and splashes the artist’s signature is not entirely clear.

In the past, scholars explained the picture’s unresolved qualities by assigning it to one of Van Ruisdael’s followers. In 1912, Hofstede de Groot attributed it to Gerrit van Hees (ca. 1625–1670); Stechow, in 1938, more plausibly proposed Van Ruisdael’s cousin Jacob Salomonsz van Ruysdael (1629/30–1681). When the panel was owned by Nathaniel Thayer in Boston, it was considered to be by Hobbema (1638–1709) on the basis of a false signature. Broulhiet acepted this attribution in 1938 [see Refs.]. Cleaning in 1935 removed the Hobbema inscription and revealed Van Ruisdael’s own. Nonetheless, scholars continued to express doubts, although Virch confidently catalogued the work as by Van Ruisdael in 1965, and in 1971 Slive was inclined to support this view [see Refs.].

The painting was cleaned again in 1981. In 1988, it was placed next to Van Ruisdael’s Dune Landscape of 1646 (State Hermitage Museum, St. Petersburg). Passage for passage, comparisons revealed the same hand in every area. Other works signed by the artist and dated 1646 are also quite consistent in execution with the MMA work, although they vary considerably in subject, condition, and scale. In addition to supporting these conclusions, Slive notes that the great oak in the painting is closely related to an oak in a drawing by Van Ruisdael (Hunter with Three Dogs Entering a Wood, Kupferstichkabinett, Berlin) which is dated 1646.

[2011; adapted from Ref. Liedtke 2007] (http://www.metmuseum.org/Collections/search-the-collections/110001998?rpp=20&pg=1&ft=ruisdael%2c+jacob+van&pos=1#fullscreen)


Meindert Hobbema – The Frick Collection. Village with Water Mill among Trees (c. 1665)

Materials: oil on canvas. Dimensions: 94.3 x 129.9 cm. Nr.:? Inscriptions: meyndrt/hobbema (lower left). Source: img52.imageshack.us/img52/1580/villagewithwatermillamo.jpg


Bernardo Bellotto – Metropolitan Museum of Art 1991.306. Pirna: The Obertor from the South (1753-1756 or the late 1760s)

Materials: oil on canvas. Dimensions: 46.4 x 78.1 cm. Acquisition date: 1991. Nr. 1991.306. Source: images.metmuseum.org/CRDImages/ep/original/DT4602.jpg


Ivan Shishkin – The Russian Museum Ж-4132. Сныть-трава. Парголово/Goutweed-grass. Pargolovo (1884-1885)

Materials: oil on cardboard. Dimensions: 35 x 58.5 cm. Nr.: Ж-4132. Source: uploads4.wikipaintings.org/images/ivan-shishkin/goutweed-….


Nicolaes Berchem – Rijksmuseum SK-A-27. Stadswal van Haarlem in de winter (1647)

Materials: oil on canvas. Dimensions: 39.5 x 48.5 cm. Inscriptions: signatuur en datum: CBerghem 1647. Nr.: SK-A-27. Source: www.rijksmuseum.nl/assetimage2.jsp?id=SK-A-27. P.S. I have changed the contrast of the original photo.


Jean-Baptiste-Camille Corot – Museum of Fine Arts (Boston) 16.1. Souvenir of a Meadow at Brunoy (c. 1855-1865)

Materials: oil on canvas. Dimensions: 90.5 x 115.9 cm. Nr.: 16.1. Source: arthistoryreference.com/a/la/052.jpg


Hans Fredrik Gude – private collection? Ved bredden av Chiemsee (1871)

Materials: oil on canvas. Dimensions: 69 x 106 cm. Sold by Blomqvist Kunsthandel in Oslo, on May 14, 2008. Source: upload.wikimedia.org/wikipedia/commons/d/dc/Hans_Gude_-_V…