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.

Cleveland Museum of Art

Thomas Cole – The Cleveland Museum of Art 1961.39. View of Florence (1837)

Thomas Cole – The Cleveland Museum of Art 1961.39. Title: View of Florence. Date: 1837. Materials: oil on canvas. Dimensions: 99.5 x 160.4 cm. Nr.: 1961.39. Source: http://www.clevelandart.org/art/1961.39. I have changed the light and contrast of the original photo.

Thomas Cole – The Cleveland Museum of Art 1961.39. Title: View of Florence. Date: 1837. Materials: oil on canvas. Dimensions: 99.5 x 160.4 cm. Nr.: 1961.39. Source: http://www.clevelandart.org/art/1961.39. I have changed the light and contrast of the original photo.

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Bernardo Bellotto (attributed to) -€“ The Cleveland Museum of Art 1962.169. Piazza San Marco, Venice (c. 1740)

1962.169_w

Materials: oil on canvas. Dimensions: 136.2 x 232.5 cm. Nr.: 1962.169. Source: http://www.clevelandart.org/art/1962.169?collection_search_query=bellotto&op=search&form_build_id=form-w-N-i79OAtVt2SZKDJ1dqRXVphV8ddDiBrb6juSaiG8&form_id=clevelandart_collection_search_form. I have changed the light, colors and contrast of the original photo.


Frederic Edwin Church – The Cleveland Museum of Art 1965.233. Twilight in the Wilderness (1860)

Twilight_in_the_Wilderness_by_Frederic_Edwin_Church_(3)

Materials: oil on canvas. Dimensions: 101.6 x 162.6 cm. Nr.: 1965.233. Source: http://commons.wikimedia.org/wiki/File:Twilight_in_the_Wilderness_by_Frederic_Edwin_Church_(3).jpg. I have changed the light, contrast and colors of the original photo.


Jean-Charles Cazin – Cleveland Museum of Art 1923.602. Minuit (1891)

Jean-Charles_Cazin_-_Minuit

Materials: oil on canvas. Dimensions: 88 x 89 cm. Inscriptions: j. c. cazin. 91 (lower right). Nr.: 1923.602. Source: http://commons.wikimedia.org/wiki/File:Jean-Charles_Cazin_-_Minuit.jpg. I have changed the contrast of the original photo.


Meindert Hobbema – The Cleveland Museum of Art 1942.641. A Cottage in the Woods (c. 1662)

Materials: oil on canvas. Dimensions: 122. 5 x 149 cm. Nr.: 1942.641. Source: images.clevelandart.org/prd1/ump.secure_uma?surl=46250853…. P.S. I have changed the light and contrast of the original photo.


Jean-Baptiste-Camille Corot – Cleveland Museum of Art 1963.91. La Cervara, the Roman Campagna (c. 1830-1831)

Materials: oil on canvas. Dimensions: 97.6 x 135.8 cm. Nr.: 1963.91. Source: pds10.egloos.com/pds/200901/10/12/a0100212_49684a358575b.jpg.

Corot recorded form and tonal qualities in outdoor drawings and oil sketches, then executed his paintings in the studio. Attracted to the beauty of the Italian countryside, he often sketched around Rome, where he lived from 1825 to 1828. This painting’s highly structured composition, based on forms moving into the distance along a series of diagonals, is characteristic of Corot’s early style and recalls the classical landscapes of 17th-century painter Nicholas Poussin (http://www.clevelandart.org/collections/collection%20online.aspx?type=refresh&sliderpos=2&searchoption=1).


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: http://www.cleveland.com/arts/index.ssf/2011/05/cleveland_museum_of_art_exhibi_1.html


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:http://www.cleveland.com/arts/index.ssf/2011/05/cleveland_museum_of_art_exhibi_1.html

“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 (http://www.cleveland.com/arts/index.ssf/2011/05/cleveland_museum_of_art_exhibi_1.html).


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: http://www.cleveland.com/arts/index.ssf/2011/05/cleveland_museum_of_art_exhibi_1.html

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 (http://www.clevelandart.org/collections/collection%20online.aspx?type=refresh&sliderpos=2&searchoption=1).


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: http://www.cleveland.com/arts/index.ssf/2011/05/cleveland_museum_of_art_exhibi_1.html

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) (http://www.clevelandart.org/collections/collection%20online.aspx?type=refresh&sliderpos=2&searchoption=1)

… 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 (http://www.cleveland.com/arts/index.ssf/2011/05/cleveland_museum_of_art_exhibi_1.html).