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196:, Everdingen took advantage of this mishap by making sketches of the Norwegian landscape, which would have seemed very exotic to his Dutch countrymen. His annotated drawings document visits to the south-east Norwegian coast and to Bohusland and the Göteborg area in western Sweden. These sketches, which he later painted in his studio, became very popular, and though now scarce, exhibit a broad and sweeping mode of execution, differing but slightly from that transmitted at the dawn of the 17th century from
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259:. Storm is the marked feature of sea-pieces in the Staedel or Robartes collections; and a strand with wreckers at the foot of a cliff in the Munich Pinakothek may be a reminiscence of personal adventure in Norway. But the Norwegian coast was studied in calms as well as in gales; and a fine canvas at Munich shows fishermen on a still and sunny day taking herrings to a smoking hut at the foot of a Norwegian crag.
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Lord
Listowel. Of his etchings and drawings there are much larger and more numerous specimens in England than elsewhere. Being a collector as well as an engraver and painter, he brought together a large number of works of all kinds and masters; and the sale of these by his heirs at Amsterdam on 11 March 1676 gives an approximate clue to the date of the painters death.
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Five of
Everdingen's cascades are in the museum of Copenhagen alone: of these, one is dated 1647, another 1649. In the Hermitage at St Petersburg is a fine example of 1647; another in the Pinakothek at Munich was finished in 1656. One of his best-known masterpieces is the Norwegian glen belonging to
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The earliest of
Everdingen's sea-pieces bears the date of 1640. After 1640 we meet with nothing but representations of inland scenery, and particularly of Norwegian valleys, remarkable alike for wildness and a decisive depth of tone. The masters favorite theme is a fall in a glen, with mournful
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island, had little of the picturesque for an artist except polders and dunes or waves and sky. Accordingly, we find
Allaert at first a painter of coast scenery. But on one of his expeditions he is said to have been cast ashore in Norway, and during the repairs of his ship he visited the inland
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in a certain form of landscape composition; but though very skillful in arrangement and clever in effects, Everdingen remains much more simple in execution; he is much less subtle in feeling or varied in touch than his great and incomparable countryman.
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fringes of pines interspersed with birch, and log-huts at the base of rocks and craggy slopes. The water tumbles over the foreground, so as to entitle the painter to the name of inventor of cascades. It gives
Everdingen his character as a precursor of
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In early pieces he cleverly represents the sea in motion under varied, but mostly clouded, aspects of sky. Their general intonation is strong and brown, and effects are rendered in a powerful key, but the execution is much more uniform than that of
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Molijn wielded his own influence on his gifted disciple, but the school of landscape painters in
Haarlem brought forth many young, talented artists who incorporated the tonal qualities of van Goyen. This can be seen in the development of
164:. A fascination with the exotic is probably what inspired Allaert to travel himself, though it is quite within the range of probability that he acquired his approach from his drawing master, Pieter de Molijn.
160:, which he carried into the 17th century; whilst Everdingen realized the large and effective system of coloured and powerfully shaded landscape which characterises the precursors of
294:. Stedelijk Museum Alkmaar, 9 September 2021 through 16 January 2022. Exhibition catalogue edited by Christi M. Klinkert and Yvonne Bleyerveld. Translation by Lynn Richards.
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It would be difficult to find a greater contrast than that presented by the works of Savery and
Everdingen. Savery inherited the brilliant style of the
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144:. In February of that year he married Janneke Cornelisdr. Their first child, Cornelis, was born a year later. Allart finally settled about 1657 in
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255:. A dark scud lowering on a rolling sea near the walls of Flushing characterizes Everdingens Mouth of the Schelde in the Hermitage at
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Klinkert, Christi M. (2021). "The Life and Work of Allart van
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89:; bapt. 18 June 1621 – 8 November 1675 (buried)), was a
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De groote schouburgh der
Nederlantsche konstschilders en schilderessen
418:. Vol. 10 (11th ed.). Cambridge University Press. p. 7.
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Allart van Everdingen, 1621–1675: Master of the Rugged Landscape.
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Allart van Everdingen, 1621–1675: Master of the Rugged Landscape
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was unscheduled, but occurred when his ship, en route to the
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Allart van Everdingen (1621–1675), Het ruige landschap
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86:[ˈɑlaːrtfɑnˈeːvərdɪŋə(n)]
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