Jacob van Ruisdael - Knowledge (XXG)

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members would specialise in parts of a painting, such as figures in landscapes, or costumes in portraits and history paintings. Masters would sometimes add a few touches to authenticate a work mostly done by pupils, to maximise both speed and price. Numerous art dealers organised commissions on behalf of patrons, as well as buying uncommissioned stock to sell on. Landscape artists did not depend on commissions in the way most painters had to do, and could therefore paint for stock. In Ruisdael's case, it is not known whether he kept stock to sell directly to customers, or sold his work through dealers, or both. Art historians only know of one commission, a work for the wealthy Amsterdam

776: 1264: 474: 46: 911:. Secondly, many 17th-century landscape paintings are unsigned and could be from pupils or copyists. Finally, fraudsters imitated Ruisdaels for financial gain, with the earliest case reported by Houbraken in 1718: a certain Jan Griffier the Elder could imitate Ruisdael's style so well that he often passed them off as genuine Ruisdaels, especially with figurines added in the style of the artist Wouwerman. There is no large-scale systematic approach to ascertaining Ruisdael's attributions, unlike the forensic science used to find the correct attributions of Rembrandt's paintings through the 456: 1202: 597:, one of the earliest works, dated 1646. It breaks with the classic Dutch tradition of depicting broad views of dunes that include houses and trees flanked by distant vistas. Instead, Ruisdael places tree-covered dunes prominently at centre stage, with a cloudscape concentrating strong light on a sandy path. The resulting heroic effect is enhanced by the large size of the canvas, "so unexpected in the work of an inexperienced painter" according to Irina Sokolova, curator at the 1303:. Dutch landscape painters "were called upon to make a portrait of their homeland, twice rewon by the Dutch people – first from the sea and later from foreign invaders". Jonathan Israel, in his study of the Dutch Republic, calls the period between 1647 and 1672 the third phase of Dutch Golden Age art, in which wealthy merchants wanted large, opulent and refined paintings, and civic leaders filled their town halls with grand displays containing republican messages. 682:, dated 1653, is just one of a dozen of Ruisdael's depictions of a particular castle in Germany, almost all of which pronounce its position on a hilltop. Significantly, Ruisdael made numerous changes to the castle's setting (it is actually on an unimposing low hill) culminating in a 1653 version which shows it on a wooded mountain. These variations are rightly considered by art historians to be evidence of Ruisdael's compositional skills. 5378: 1061:, professor at the Royal Academy, expressed his contempt for the entire Dutch School of Landscape, dismissing it as no more than a "transcript of the spot", a mere "enumeration of hill and dale, clumps of trees". Of note is that one of Fuseli's students was Constable, whose admiration for Ruisdael remained unchanged. Around the same time in Germany, the writer, statesman and scientist 4931: 584:

sense of sap flowing through branches and leaves. His accurate rendering of trees was unprecedented at the time: the genera of his trees are the first to be unequivocally recognisable by modern-day botanists. His early sketches introduce motifs that would return in all his work: a sense of spaciousness and luminosity, and an airy atmosphere achieved through

544:. His paintings were valued fairly highly. In a large sample of inventories between 1650 and 1679 the average price for a Ruisdael was 40 guilders, compared to an average of 19 guilders for all attributed paintings. In a ranking of contemporary Dutch painters based on price-weighted frequency in these inventories, Ruisdael ranks seventh; 1177:

advocates abandoning the notion of "disguised symbolism". Perhaps Ruisdael's work can be interpreted according to the religious world view of his time: nature serves as the "first book" of God, both because of its inherent divine qualities and because of God's obvious concern for man and the world. The intention is spiritual, not moral.

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The Dutch coffee and tea company De Zuid-Hollandsche Koffie- en Theehandel published picture books in the 1920s with portraits of famous figures from Dutch history and the 1926 edition showed a portrait of "Jacob Isaaksz. Ruisdael" (sic). It is not known where the coffee and tea company got the image

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Ruisdael is now seen as the leading artist of the "classical" phase in Dutch landscape art, which built upon the realism of the previous "tonal" phase. The tonal phase suggested atmosphere through the use of tonality, while the classical phase strived for a more grandiose effect, with paintings built

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finds him a marvellous storyteller. Januszczak does not consider Ruisdael the greatest landscape artist of all time, but is especially impressed by his works as a teenager: "a prodigy whom we should rank at number 8 or 9 on the Mozart scale". Slive states Ruisdael is acknowledged "by general consent,

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In his 2001 catalogue raisonné, Slive attributes 694 paintings to Ruisdael and lists another 163 paintings with dubious or, he believes, incorrect attribution. There are three main reasons why there is uncertainty over whose hand painted various Ruisdael-style landscapes. Firstly, four members of the

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All thirteen known Ruisdael etchings come from his early period, with the first one dated 1646. It is unknown who taught him the art of etching. No etchings exist signed by his father, his uncle, or his fellow Haarlem landscapist Cornelis Vroom, who influenced his other work. His etchings show little

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For unknown reasons, Ruisdael almost entirely stopped dating his work from 1653. Only five works from the 1660s have a, partially obscured, year next to his signature; none from the 1670s and 1680s have a date. Dating subsequent work has therefore been largely based on detective work and speculation.

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remarks that "it can never be overemphasized that the period between 1550 and 1650, when the political identity of an independent Netherlands nation was being established, was also a time of dramatic physical alteration of its landscape". Ruisdael's depiction of nature and emergent Dutch technology

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that it symbolises "the sheer hard work needed to keep Holland above water and to safeguard the future of the nation's children". The symmetries in the landscapes are "reminders to fellow citizens always to remain on the straight and narrow". Slive, sensible scholar that he is, is more reluctant to

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There is some speculation that Ruisdael was also a doctor. In 1718, his biographer Houbraken reports that he studied medicine and performed surgery in Amsterdam. Archival records of the 17th century show the name "Jacobus Ruijsdael" on a list of Amsterdam doctors, albeit crossed out, with the added

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Ruisdael's first Scandinavian views contain big firs, rugged mountains, large boulders and rushing torrents. Though convincingly realistic, they are based on previous art works, rather than on direct experience. There is no record that Ruisdael made any trip to Scandinavia, although fellow Haarlem

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Ruisdael's work from c. 1646 to the early 1650s, when he was living in Haarlem, is characterised by simple motifs and careful and laborious study of nature: dunes, woods, and atmospheric effects. By applying heavier paint than his predecessors, Ruisdael gave his foliage a rich quality, conveying a

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identified thirteen themes within the Dutch Golden Age landscape genre, and Ruisdael's work encompasses all but two of them, excelling at most: forests, rivers, dunes and country roads, panoramas, imaginary landscapes, Scandinavian waterfalls, marines, beachscapes, winter scenes, town views, and

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While in modern Dutch the "uy" spelling is only preserved in names and the "ui" is dominant, before modern spelling regulations the "uy" was spelled interchangeably with "uij", with "ij" in combination just being another way to represent "y", and "ui" being shorthand for "uij". The long list of

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Based on records of membership of the Guild of Saint Luke, it is estimated there was one painter for every 2,000 to 3,000 inhabitants, compared to every 10,000 in Renaissance Italy. A total of five million paintings were produced in the Dutch Republic in the 17th century. Slive says there were

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As well, ordinary middle class Dutch people began buying art for the first time, creating a high demand for paintings of all kinds. This demand was met by enormous painter guilds. Master painters set up studios to produce large numbers of paintings quickly. Under the master's direction, studio

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The art historian Hendrik Frederik Wijnman disproved the myth that Ruisdael died a poor man, supposedly in the old men's almshouse in Haarlem. Wijnman showed that the person who died there was in fact Ruisdael's cousin, Jacob Salomonszoon. Although there is no record of Ruisdael owning land or

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in its contemporary religious context of man's dependence on the "spirit of the Lord for life". With regards to interpreting Ruisdael's Scandinavian paintings, he says "My own view is that it strains credulity to the breaking point to propose that he himself conceived of all his depictions of

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In the middle of the spectrum are scholars such as E. John Walford, who sees the works as "not so much bearers of narrative or emblematic meanings but rather as images reflecting the fact that the visible world was essentially perceived as manifesting inherent spiritual significance". Walford

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in 1628 or 1629 into a family of painters, all landscapists. The number of painters in the family, and the multiple spellings of the Van Ruisdael name, have hampered attempts to document his life and attribute his works. The name Ruisdael is connected to a castle, now lost, in the village of

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argues that the spelling "uij" is not consistent with Ruisdael's own spelling of his name, that his unusually high production suggests there was little time to study medicine, and that there is no indication in any of his art that he visited northern France. The evidence is inconclusive.

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Among art historians and critics, Ruisdael's reputation has had its ups and downs over the centuries. The first account, in 1718, is from Houbraken, who waxed lyrical over the technical mastery which allowed Ruisdael to realistically depict falling water and the sea. In 1781, Sir

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of 1646 is one such example. The figures in most of his panoramic views are also of his own hand. Art historian Robert Watson writes that the odd tendency to hire each other to paint small figures in landscapes suggests a taboo guarding the barrier between the human and the

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influence from Rembrandt, either in style or technique. Few original impressions exist; five etchings survive in only a single impression. The rarity of prints suggests that Ruisdael considered them trial essays, which did not warrant large editions. The etching expert

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is universally accepted as an allegory for the fragility of life, how other works should be interpreted is much disputed. At one end of the spectrum is Henry Fuseli, who contends they have no meaning at all, and are simply a depiction of nature. At the other end is

397:. By this time landscape paintings were as popular as history paintings in Dutch households, though at the time of Ruisdael's birth, history paintings appeared far more frequently. This growth in popularity of landscapes continued throughout Ruisdael's career. 3494: 701:

painter Allart van Everdingen had travelled there in 1644 and had popularised the subgenre. Ruisdael's work soon outstripped van Everdingen's finest efforts. In total Ruisdael produced more than 150 Scandinavian views featuring waterfalls, of which

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Ruysdael family were landscapists with similar signatures, some of which were later fraudulently altered into Jacob's. This is further complicated by the fact that Ruisdael used variations of his signature. This typically reads "JvRuisdael" or the

513:. Slive reports that, because of Ruisdael's depiction of a Jewish cemetery and various biblical names in the Ruisdael family, he often heard speculation that Ruisdael must surely be Jewish. The evidence shows otherwise. Ruisdael was buried in the 1251:, and the Hermitage each hold significant collections. Ruisdael's rare etchings are spread across institutions. No collection holds a print of each of the thirteen etchings. Of the five unique prints, the British Museum holds two, two are in the 377:

Ruisdael's teacher is also unknown. It is often assumed Ruisdael studied with his father and uncle, but there is no evidence for this. He appears to have been strongly influenced by other contemporary local Haarlem landscapists, most notably

5241: 4057:(2013). "Nogmaals over een oud raadsel: Jacob van Ruisdael, Arnold Houbraken en de Amsterdamse naamlijst van geneesheren" [Once more on the old riddle: Jacob van Ruisdael, Arnold Houbraken and the Amsterdam list of physicians]. 1465:

Studios already existed before Ruisdael was born. Painters from the tonal phase had also developed efficient techniques such as wet-into-wet paint, but this was not used by the classical phase painters, who strived for a high level of

404:, by then a prosperous city which was likely to have offered a bigger market for his work. His fellow Haarlem painter Allaert van Everdingen had already moved to Amsterdam and found a market there. On 17 June 1657 he was baptized in 887: 3304: 1069:

however, in 1860, raged against Ruisdael and other Dutch Golden Age landscapists, calling their landscapes places where "we lose not only all faith in religion but all remembrance of it". In 1915, the Dutch art historian

501:, northern France. Various art historians have speculated that this was, in all probability, a case of mistaken identity. Pieter Scheltema suggests it was Ruisdael's cousin who appeared on the record. The Ruisdael expert 3456: 1118:, and various other grand exhibitions across the world since, it was not until 1981 that an exhibition was solely dedicated to him. Over fifty paintings and thirty-five drawings and etchings were exhibited, first at the 996:. Constable also copied various drawings, etchings and paintings by Ruisdael, and was a great admirer from a young age. "It haunts my mind and clings to my heart", he wrote after seeing a Ruisdael. However, he thought 3274: 840:

While Amsterdam does feature in his work, it does so relatively rarely given that Ruisdael lived there for over 25 years. It does feature in his only known architectural subject, a drawing of the interior of the

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who sees meaning in almost everything: "They all display the silent power of Nature, who opposes with her mighty hand the petty activity of man, and with a solemn warning as it were, repels his encroachments".

837:, with the clouds creating various gradations of alternating bands of light and shadow towards the horizon. The paintings are often dominated by Saint Bavo's Church, in which Ruisdael would one day be buried. 1291:

of the Dutch Republic. He states that landscape painting does conform to Calvin's requirement that only what is visible may be depicted in art, and that landscape paintings such as those of Ruisdael have an

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It is not known whether Ruisdael's mother was Isaack van Ruisdael's first wife, whose name is unknown, or his second wife, Maycken Cornelisdochter. Isaack and Maycken married on 12 November 1628.

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Figures are introduced sparingly into Ruisdael's compositions, and are by this period rarely from his own hand but executed by various artists, including his pupil Meindert Hobbema, Nicolaes Berchem,

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Unlike his other family members, his uncle Salomon is well-known today and has works on display in, for instance, the National Gallery in London and the National Gallery of Art in Washington D.C.

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Ruisdael did not marry. According to Houbraken, whose short biography does contain a few errors, this was "to reserve time to serve his old father". No likeness of Ruisdael is known to exist

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lauded Ruisdael as a thinking artist, even a poet, saying "he demonstrates remarkable skill in locating the exact point at which the creative faculty comes into contact with a lucid mind".

5209: 3312: 1151: 703: 697:, of which he painted two versions. With these, Ruisdael pits the natural world against the built environment, which has been overrun by the trees and shrubs surrounding the cemetery. 255:, one of several artists who painted figures in his landscapes. Hobbema's work has at times been confused with Ruisdael's. Ruisdael always spelt his name thus: Ruisdael, not Ruysdael. 728:, with a restricted palette of only black, white, blue and a few brown earth colours. However, forest scenes remain a subject of choice, such as the Hermitage's most famous Ruisdael, 236:

Prolific and versatile, Ruisdael depicted a wide variety of landscape subjects. From 1646 he painted Dutch countryside scenes of remarkable quality for a young man. After a trip to

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It is not certain if Ruisdael had more pupils other than Hobbema in his studio, but at least four other artists have been identified as having provided staffage for his landscapes.

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Reenen, Pieter van; Wijnands, Astrid (1993). "Early diphthongizations of palatalized West Germanic – the spelling uy in Middle Dutch". In Aertsen, Henk; Jeffers, Robert (eds.).

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According to some, Ruisdael and his art should not be considered apart from the context of the incredible wealth and significant changes to the land that occurred during the

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acknowledged Ruisdael as a major influence, calling him sublime, but at the same time saying it would be a mistake to try to copy him. Van Gogh had two Ruisdael prints,

5068: 3384: 928: 1146: 355:, three of his sons changed their name to Van Ruysdael or Van Ruisdael, probably to indicate their origin. Two of De Goyer's sons became painters: Jacob's father 3422: 5193: 3337: 244:, he added city panoramas and seascapes to his regular repertoire. In these, the sky often took up two-thirds of the canvas. In total he produced more than 150 752:, dateable to the late 1670s. This portrays a rugged range with the highest peak in the clouds. Ruisdael's subjects became unusually varied. The art historian 4963: 3362: 627:, dates from 1647. The theme of an overwhelming sky and a distant town, in this case the birthplace of his father, is one he returned to in his later years. 1507:

1660), is unusual in Ruisdael's oeuvre for another reason. It is also the only one in which his landscape is the background to the work of another artist.

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up through a series of vigorous contrasts of solid form against the sky, and of light against shade, with a tree, animal, or windmill often singled out.

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Gifford, E. Melanie (1995). "Style and Technique in Dutch Landscape Painting in the 1620s". In Wallert, Arie; Hermens, Erma; Peek, Marja (eds.).

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On his trip to Germany, Ruisdael encountered water mills which he turned into a principal subject for painting, the first artist to ever do so.

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Following Ruisdael's trip to Germany, his landscapes took on a more heroic character, with forms becoming larger and more prominent. A view of

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Though most popular, landscape painting was still not seen as the pinnacle of painting. In his 1678 treatise on painting, painter-writer

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There are no 17th-century documents to indicate, either at first or second hand, what Ruisdael intended to convey through his art. While

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in Haarlem, and it is probable that Ruisdael's father was also a member there. His cousin Jacob was a registered Mennonite in Amsterdam.

5257: 5109: 748: 687: 5430: 5281: 4992: 1441: 738: 1665, which depicts a primieval scene with broken birches and oaks, and branches reaching for the sky amidst an overgrown pond. 691:, dated 1653, is a prime example. The ruins of Egmont Castle near Alkmaar were another favourite subject of Ruisdael's and feature in 237: 5420: 2975: 299: 4195:""Everywhere illustrious histories that are a dime a dozen": The mass market for history painting in seventeenth-century Amsterdam" 1488:

versions was commissioned by the family of Eliahu Montalto, whose tomb is on the painting. Slive does not hold this for impossible.

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A Corpus of Rembrandt Paintings VI: Rembrandt's Paintings Revisited – A Complete Survey: 6 (Rembrandt Research Project Foundation)

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fancifully asserts all Dutch Golden Age landscapists could not help but search everywhere for meaning. He says of the windmill in

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Marchi, Neil De; Miegroet, Hans J. Van (1994). "Art, value, and market practices in the Netherlands in the seventeenth century".

641: 1091:"Ruisdael really doesn't deserve to be underrated. ..e was a prodigy whom we should rank at number 8 or 9 on the Mozart scale." 775: 2619: 2942: 5445: 5273: 3907: 1407:

Tax records show Ruisdael paid 10 guilders for the 0.5% wealth tax in 1674, indicating his net worth was 2,000 guilders.

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Ruisdaels are scattered across collections globally, both private and institutional. The most notable collections are at the

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Various panoramic views of the Haarlem skyline and its bleaching grounds appear during this stage, a specific genre called

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Montias, John Michael (1996). "Works of Art in Seventeenth-Century Amsterdam". In Freedberg, David; Vries, Jan de (eds.).

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built in 1863, and one inside the Louvre made by Louis-Denis Caillouette in 1822, are also not traceable back to a source.

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in St. Petersburg hold the largest collections. Ruisdael shaped landscape painting traditions worldwide, from the English

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waterfalls, torrents and rushing streams and dead trees as visual sermons on the themes of transcience and vanitas".

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Miedema, Hessel (1994). "The Appreciation of Paintings around 1600". In Luijten, Ger; Suchtelen, Ariane van (eds.).

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Beschreibendes und kritisches Verzeichnis der Werke der hervorragendsten Holländischen Mahler des XVII. Jahrhunderts

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in Madrid, Spain has four (and two additional paintings attributed to Jacob Isaacksz. van Ruisdael). In the US, the

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The imaginary landscapes of gardens that Ruisdael painted in the 1670s actually reflect an ongoing discourse on the

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in the US, as well as generations of Dutch landscape artists. Among the English artists influenced by Ruisdael are

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Ruisdael died in Amsterdam on 10 March 1682. He was buried 14 March 1682 in Saint Bavo's Church, Haarlem.

351:. The village was the home of Jacob's grandfather, the furniture maker Jacob de Goyer. When De Goyer moved away to 1033:". His experience of the French countryside was informed by his memory of Ruisdael's art. Van Gogh's contemporary 5000: 1221: 1220:

in Amsterdam, which holds sixteen paintings; the Hermitage Museum in Saint Petersburg, which holds nine, and the

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just across the border in Germany in 1650, and possibly with Hobbema across the German border again in 1661, via

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in 1650, his landscapes took on a more heroic character. In his late work, conducted when he lived and worked in

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in New York, and realised a price of $ 1,805,000. Of his surviving drawings, 140 in total, the Rijksmuseum, the

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De Boeken van de Grote of Sint Bavokerk: een Bijdrage tot de Geschiedenis van het Middeleeuwse Boek in Haarlem

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This is inferred from a document dated 9 June 1661 in which Ruisdael states he is aged 32 years old.

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in Paris. Turner made many copies of Ruisdaels and even painted fantasy views of a nonexistent port he called

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during his lifetime. Today it is spread across private and institutional collections around the world; the

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Other evidence of his compositional skills includes the botanically accurate representation of the shrub

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Giltay, Jeroen (1980). "De tekeningen van Jacob van Ruisdael" [Drawings of Jacob van Ruisdael].

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Wybe Kuitert (November 2017). "Spruces, pines, and the picturesque in seventeenth-century Netherlands".

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It was unusual that signed and dated works of an artist were created before matriculation in a guild.

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was a failure, because he considered that it attempted to convey something outside the reach of art.

855: 842: 724: 412:, his only registered pupil, a painter whose works have, by some, been confused with Ruisdael's own. 360: 312: 588:-like touches of chalk. Most of his thirty black chalk sketches that survive date from this period. 5359: 5076: 4261:

A Hand-book of the History of Painting. Part II. The German, Flemish, and Dutch Schools of Painting

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Slive finds it appropriate that a windmill is the subject of one of Ruisdael's most famous works.

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Golan, Steven (1997). "Subjects, subject categories, and hierarchies". In Muller, Sheila (ed.).

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A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century

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The Arrival of Cornelis de Graeff and Members of His Family at Soestdijk, His Country Estate

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The Oxford Handbook of Early Modern European History, 1350-1750: Volume I: Peoples and Place

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The Arrival of Cornelis de Graeff and Members of His Family at Soestdijk, His Country Estate

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The Books of the St. Bavo Church: a Contribution to the History of Books in the Middle Ages

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Giltay, Jeroen (1987). "Jacob van Ruisdael". In Sutton, Peter C.; Blankert, Albert (eds.).

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Museum of classic and modern sculptures, or historical and visual description of the Louvre

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Ashton, Peter Shaw; Davies, Alice I.; Slive, Seymour (1982). "Jacob van Ruisdael's trees".

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A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish, and French Painters

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are wrapped up in this. Christopher Joby places Ruisdael in the religious context of the

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Wijnman, Hendrik (1932). "Het leven der Ruysdaels" [The life of the Ruysdaels].

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common spellings of the Ruisdael name over the centuries includes "uy", "uij", and "ui".

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Musée de sculpture antique et moderne, ou description historique et graphique du Louvre

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In this period Ruisdael started painting coastal scenes and sea-pieces, influenced by

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shares, he appears to have lived comfortably, even after the economic downturn of the

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To add to the name confusion, Jacob's aunt, wife of Salomon, also was called Maycken.

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For a landscape artist, it seems Ruisdael travelled relatively little: to Blaricum,

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Scribble, Scribble, Scribble: Writing on Ice Cream, Obama, Churchill and My Mother

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Jacob van Ruisdael: a Complete Catalogue of his Paintings, Drawings, and Etchings

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The Embarrassment of Riches: an Interpretation of Dutch Culture in the Golden Age

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painting, for which there is no evidence of ever have been present in this area.

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View of Haarlem from the Northwest, with the Bleaching Fields in the Foreground

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described him as "the greatest master of the natural vision before Constable".

4222:

Vincent van Gogh – the Letters: the Complete Illustrated and Annotated Edition

4070: 758: 4536: 4463: 4144:

De groote schouburgh der Nederlantsche konstschilders en schilderessen deel 3

4080:"Luttele regels en eeuwen verwarring. Arnold Houbraken en Jacob van Ruisdael" 3917: 3876: 1299:

The art historian Yuri Kuznetsov places Ruisdael's art in the context of the

1296:

value which provides further support for their use within Reformed Churches.

4863: 4211: 4194: 3957: 3853: 3796:"A tree, a rock, a cloud: Jacob van Ruisdael's stormy realism in retrospect" 1288: 1252: 1123: 863: 609:: "It is hardly credible that it should be the work of a boy of seventeen". 545: 526: 444: 432: 401: 241: 100: 4882: 4728: 4544:

Scheyer, Ernst (1977). "The Iconography of Jacob van Ruisdael's Cemetery".

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Art in History/History in Art: Studies in Seventeenth-Century Dutch Culture

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and foreign landscapes other than Scandinavian are absent from his oeuvre.

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During Ruisdael's last period he began to depict mountain scenes, such as

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is 1646. Two years after this date he was admitted to membership of the

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Lectures on Painting: by the Royal Academicians, Barry, Opie and Fuseli

4351: 4010:. Garland reference library of the humanities 1021. New York: Garland. 1921:"Jacob van Ruisdael in the RKD (Netherlands Institute for Art History)" 803: 390: 352: 343: 218: 214: 75: 22: 4941: 4923: 1041:'s early abstract compositions the eventually led to the founding of 989: 436: 420: 4343: 3837: 521:

church at that time. His uncle Salomon van Ruysdael belonged to the

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remark that he earned his medical degree on 15 October 1676 in

4041:[Is Viburnum lantana L. indigenous in the Haarlem dunes?]. 964:

Ruisdael has shaped landscape painting traditions from the English

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from. Two 19th-century sculptures, one on the outside wall of the

1262: 1200: 1145: 885: 774: 658: 611: 569: 286:

in the US, and influenced generations of Dutch landscape artists.

4577:. Oxford Handbooks in History. Oxford: Oxford University Press. 3344:. Thyssen-Bornemisza National Museum. Accessed 19 September 2021 1484:

Art historian Scheyer suggests that it possible that one of the

1086:

as the pre-eminent landscapist of the Golden Age of Dutch art".

510: 498: 4945: 4277:. Masters of World Painting. Leningrad: Aurora Art Publishers. 4125:] (in German). Vol. 4. Esslingen, Germany: Paul Neff. 4814:

Back to Nature: The Green and the Real in the Late Renaissance

4294:

Dutch Paintings in the Metropolitan Museum of Art, Volumes 1-2

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Historical Painting Techniques, Materials, and Studio Practice

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Dawn of the Golden Age Northern Netherlandish Art 1580 – 1620

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View of Naarden with the Church at Muiderberg in the Distance

617:

View of Naarden with the Church at Muiderberg in the Distance

4525:

Aemstel's oudheid of gedenkwaardigheden van Amsterdam deel 6

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Bachrach, A. G. H (1981). "Turner, Ruisdael and the Dutch".

3487:"Collection Search: "Drawings Jacob Isaacksz. van Ruisdael"" 3457:"Collection Search: "Drawings Jacob Isaacksz. van Ruisdael"" 2857: 2855: 4176:

The Dutch Republic. Its Rise, Greatness, and Fall 1477–1806

4039:"Is Viburnum lantana L. indigeen in de duinen bij Haarlem?" 2586:

Studies in the History of Gardens & Designed Landscapes

1435:

It is assumed that in his early years Ruisdael painted the

4816:. Philadelphia, Penns.: University of Pennsylvania Press. 2081: 2079: 1702: 1700: 1228:

in New York has five Ruisdaels in its collection, and the

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exhibition, displaying works from over fifty collections.

830:. Windmills featured throughout Ruisdael's entire career. 389:

The earliest date that appears on a Ruisdael painting and

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Waterfall in a Mountainous Landscape with a Ruined Castle

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Waterfall in a Mountainous Landscape with a Ruined Castle

1134:. In 2006, the Royal Academy in London hosted a Ruisdael 802:, a riverside town about 20 kilometres (12 mi) from 704:

Waterfall in a Mountainous Landscape with a Ruined Castle

229:, a period of great wealth and cultural achievement when 3601: 3599: 3538: 3536: 3712: 3710: 2463: 2461: 2436: 2434: 2432: 1948: 1946: 1077:

More recent art historians have rated Ruisdael highly.

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called his compatriot not so much a painter as a poet.

1717: 1715: 1282:. In his study on 17th-century Dutch art and culture, 1114:

Although many of Ruisdael's works were on show in the

16:

Dutch landscape painter and engraver ( c. 1629 – 1682)

5250:

Panoramic view of the Amstel looking toward Amsterdam

4529:

Aemstel's past or memorable facts of Amsterdam part 6

2543: 2541: 2539: 2502: 2500: 2248: 2246: 2244: 2219: 2217: 1771: 1769: 848:

Panoramic view of the Amstel looking toward Amsterdam

4363:. Princeton, N. Jersey: Princeton University Press. 4101:

De Historie van Ankeveen – 's-Graveland – Kortenhoef

3991:. Berkeley, Calif.: University of California Press. 1037:

is also said to be indebted to Ruisdael. Similarly,

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Dutch Landscape Painting of the Seventeenth Century

4690:

Jacob van Ruisdael. Gallery guide to the exhibition

4596:(Dutch ed.). Amsterdam: Meulenhoff/Landshoff. 4220:Jansen, Leo; Luijten, Hans; Bakker, Nienke (2009). 3385:"Collection Search: "Jacob Isaacksz. van Ruisdael"" 3355:"Collection Search: "Jacob Isaacksz. van Ruisdael"" 3305:"Collection Search: "Jacob Isaacksz. van Ruisdael"" 3275:"Collection Search: "Jacob Isaacksz. van Ruisdael"" 3245:"Collection Search: "Jacob Isaacksz. van Ruisdael"" 2966: 2964: 2962: 2960: 2917: 2901: 2885: 711: 1665–1670, is seen as his greatest by Slive. 170: 156: 118: 108: 86: 64: 36: 4797:. New Haven, Conn./London: Yale University Press. 4793:Jacob van Ruisdael and the Perception of Landscape 4790: 4767: 4741: 651:as unrivalled illustrations of Ruisdael's genius. 4592:Slive, Seymour; Hoetink, Hendrik Richard (1981). 3816:Landscape and Religion from Van Eyck to Rembrandt 2795: 2759: 2491: 2303: 2235: 213: 1629 – 10 March 1682) was a Dutch painter, 5069:Two Watermills and an Open Sluice near Singraven 3967:Masters of 17th Century Dutch Landscape Painting 1456:hundreds of landscapists during Ruisdael's time. 4361:Vermeer and His Milieu: A Web of Social History 3871:] (in French). Paris: L'Imprimerie Royale. 2125:"Kunsthalle – Statues and portraits of artists" 1235:On occasion a Ruisdael changes hands. In 2014, 1089: 1045:have been traced back to Ruisdael's panoramas. 4744:Dutch and Flemish Paintings from the Hermitage 3677: 1555: 5194:A Landscape with a Ruined Castle and a Church 4957: 4898:]. Hilversum, the Netherlands: Verloren. 4699:Jacob van Ruisdael: Windmills and Water Mills 1216:in London, which holds twenty paintings; the 749:Mountainous and Wooded Landscape with a River 221:. He is generally considered the pre-eminent 8: 4738:"Dutch paintings of the Seventeenth Century" 4531:] (in Dutch). Amsterdam: C.L. Brinkman. 4097:"De doop van Jacob van Ruisdael in Ankeveen" 3752: 3740: 3527: 3219: 2834: 2735: 2696: 2684: 2452: 2375: 2172: 1964: 1864: 1811: 1733: 1691: 1674: 1543: 1531: 4654:. New Haven, Conn.: Yale University Press. 4635:. New Haven, Conn.: Yale University Press. 4401:. New Haven, Conn.: Yale University Press. 4315:. New Haven, Conn.: Yale University Press. 3840:[Two wills of Jacob van Ruisdael]. 342:Jacob Isaackszoon van Ruisdael was born in 5017:Landscape with a Windmill near a Town Moat 4964: 4950: 4942: 4920:71 artworks by or after Jacob van Ruisdael 4199:Journal of Historians of Netherlandish Art 4151:] (in Dutch). Amsterdam: B.M. Israël. 4149:The great theatre of Dutch painters part 3 3987:; Gage, John (1980). "Ruisdael the Poet". 3207: 3135: 3027: 1188:read too much into the work, but does put 845:, as well as in views of the Dam, and the 44: 33: 5178:Winter View of the Hekelveld in Amsterdam 5057:Evening Landscape: A Windmill by a Stream 4546:Bulletin of the Detroit Institute of Arts 4210: 3912:. London: Sampson Low, Son, and Marston. 3838:"Twee testamenten van Jacob van Ruisdael" 3818:. Farnham, the U.K.: Ashgate Publishing. 3566: 3515: 3159: 3039: 2530: 2339: 2085: 2070: 2058: 2034: 1987: 1985: 1976: 1760: 1706: 1314:, jointly painted with Thomas de Keyser. 1116:Art Treasures Exhibition, Manchester 1857 591:An exemplar of Ruisdael's early style is 4835:. Dordrecht, the Netherlands: Springer. 4748:. New York: Metropolitan Museum of Art. 4399:Art and Commerce in the Dutch Golden Age 4296:. New York: Metropolitan Museum of Art. 2846: 2807: 2291: 1847: 5301:View of the Dam and Damrak at Amsterdam 5126:A Thatch-Roofed House with a Water Mill 4671:Jacob van Ruisdael: Master of Landscape 4241:Calvinism and the Arts: a Re-assessment 3814:Bakker, Boudewijn; Webb, Diane (2012). 3728: 3701: 3665: 3653: 3641: 3195: 3183: 3171: 3063: 2571: 2196: 2184: 2157: 1888: 1745: 1524: 1323: 768:in circles of gardening aesthetes like 561:List of paintings by Jacob van Ruisdael 5343:Forest Marsh with Travellers on a Bank 3578: 3542: 3051: 3015: 2720: 2518: 2276: 2145: 2046: 1915: 1913: 1911: 1909: 623:Ruisdael's first panoramic landscape, 529:congregation, one of several types of 5266:View of Haarlem with Bleaching Fields 5118:View of the Binnenamstel at Amsterdam 4264:. London: John Murray. Archived from 4028:(30 December 2013). "Boom and bust". 3716: 3689: 3629: 3617: 3605: 3590: 3443: 3231: 3147: 3123: 3111: 3099: 3087: 3075: 3000: 2873: 2861: 2819: 2783: 2771: 2747: 2708: 2672: 2660: 2648: 2559: 2547: 2506: 2479: 2467: 2440: 2423: 2411: 2399: 2363: 2351: 2327: 2315: 2264: 2252: 2223: 2208: 2101:. Zwiggelaar Auctions. Archived from 2022: 1952: 1925:Netherlands Institute for Art History 1900: 1876: 1835: 1823: 1799: 1787: 1775: 1721: 1597: 952:Landscape with Windmills near Haarlem 935:Landscape with Windmills near Haarlem 781:View of Haarlem with Bleaching Fields 258:Ruisdael's work was in demand in the 251:Ruisdael's only registered pupil was 196: 138:View of Haarlem with Bleaching Fields 7: 5226:Mountainous Landscape with a Torrent 3969:. Amsterdam: Rijksmuseum Amsterdam. 3554: 2620:"The Windmill at Wijk bij Duurstede" 1992:Wecker, Menachem (21 October 2005). 1255:in Vienna, and one is in Amsterdam. 851:, one of Ruisdael's last paintings. 5258:Mountain Landscape with a Watermill 5110:Two Water Mills with an Open Sluice 4701:. Los Angeles: Getty Publications. 4382:. Los Angeles: Getty Publications. 4178:. Oxford: Oxford University Press. 3929:. Los Angeles: Getty Publications. 2387: 688:Two Water Mills with an Open Sluice 5282:View on the Amstel from Amsteldijk 4993:Landscape with a Cottage and Trees 3794:Baker, Kenneth (2 February 1982). 1994:"Jacob van Ruisdael is not Jewish" 1442:Landscape with a Cottage and Trees 1185:The Windmill at Wijk bij Duurstede 14: 4673:. London: Royal Academy of Arts. 4030:The high art of the Low Countries 2918:Jansen, Luijten & Bakker 2009 2902:Jansen, Luijten & Bakker 2009 2886:Jansen, Luijten & Bakker 2009 1301:war of independence against Spain 1268:Winter Landscape with a Watermill 5377: 5376: 5336:Grainfield at the Edge of a Wood 5170:A Waterfall in a Rocky Landscape 4929: 4032:. British Broadcast Corporation. 944: 927: 814:ranking third after Rembrandt's 642:Grainfield at the Edge of a Wood 472: 454: 321: 298: 4831:Wetering, Ernst van de (2014). 4418:Dutch Culture in the Golden Age 4258:Krugler, Franz Theodor (1846). 2236:Ashton, Davies & Slive 1982 400:Around 1657, Ruisdael moved to 365:Jacob Salomonszoon van Ruysdael 5274:Windmill at Wijk bij Duurstede 4890:Wüstefeld, Wilhelmina (1989). 4723:. Vol. 6. London: Sands. 4359:Montias, John Michael (1989). 4037:Ham, R.W.J.M. van der (1983). 1249:Dresden's Kupferstich-Kabinett 795:Windmill at Wijk bij Duurstede 198:[ˈjaːkɔpfɑnˈrœyzˌdaːl] 190:Jacob Isaackszoon van Ruisdael 132:Windmill at Wijk bij Duurstede 69:Jacob Isaackszoon van Ruisdael 52:Windmill at Wijk bij Duurstede 1: 5234:Winter Landscape near Haarlem 4740:. In Howard, Kathleen (ed.). 4439:. Amsterdam: John Benjamins. 4224:. London: Thames and Hudson. 2598:10.1080/14601176.2017.1404223 1504: 1271: 1156: 785: 735: 722:. Among the most dramatic is 708: 669: 483: 467:(1650s) by Jacob van Ruisdael 371:, called him Jakob Ruisdaal. 332: 210: 56: 4243:. Leuven, Belgium: Peeters. 4078:Hinrichs, Jan Paul (2013b). 1641:"River Landscape with Ferry" 1569:"Union list of artist names" 937:(1651) by Jacob van Ruisdael 515:Saint Bavo's Church, Haarlem 248:views featuring waterfalls. 5093:Dune Landscape near Haarlem 4573:Scott, Hamish, ed. (2015). 4437:Historical Linguistics 1989 4292:Liedtke, Walter A. (2007). 4113:Hofstede de Groot, Cornelis 4095:Hinrichs, Jan Paul (2014). 4084:Nieuw Letterkundig Magazijn 3985:Goethe, Johann Wolfgang von 3906:Duplessis, Georges (1871). 335:1650) by Jacob van Ruisdael 5462: 4516:Scheltema, Pieter (1872). 4480:. New York: Alfred Knopf. 4458:. Berlin: Bruno Cassirer. 4420:. London: Reaktion Books. 4239:Joby, Christopher (2007). 4008:Dutch Art: An Encyclopedia 3678:Marchi & Miegroet 1994 3359:Metropolitan Museum of Art 2939:Metropolitan Museum of Art 1556:Reenen & Wijnands 1993 1226:Metropolitan Museum of Art 1063:Johann Wolfgang von Goethe 913:Rembrandt Research Project 558: 20: 5431:Dutch Golden Age painters 5374: 5001:Landscape with a Windmill 4789:Walford, E. John (1991). 4774:. London: Phaidon Press. 4454:Rosenberg, Jakob (1928). 4416:Price, J. Leslie (2011). 4174:Israel, Jonathan (1995). 4071:10.1163/18750176-90000032 3861:Clarac, Frédéric (1841). 2976:"Art: Jacob van Ruisdael" 1380:reserved top spot in the 1232:in California has three. 1222:Thyssen-Bornemisza Museum 395:Haarlem Guild of St. Luke 359:and his well-known uncle 183: 166: 43: 5421:Dutch landscape painters 5162:Landscape with Waterfall 4736:Sokolova, Irina (1988). 4501:. London: Random House. 4273:Kuznetsov, Yuri (1983). 3909:The Wonders of Engraving 3753:Slive & Hoetink 1981 3741:Slive & Hoetink 1981 3528:Slive & Hoetink 1981 2835:Slive & Hoetink 1981 2736:Slive & Hoetink 1981 2697:Slive & Hoetink 1981 2685:Slive & Hoetink 1981 2453:Slive & Hoetink 1981 2376:Slive & Hoetink 1981 2173:Slive & Hoetink 1981 1965:Slive & Hoetink 1981 1865:Slive & Hoetink 1981 1812:Slive & Hoetink 1981 1734:Slive & Hoetink 1981 1692:Slive & Hoetink 1981 1675:Slive & Hoetink 1981 1544:Slive & Hoetink 1981 1532:Slive & Hoetink 1981 1132:Cambridge, Massachusetts 1126:, then, in 1982, at the 908:Landscape with Waterfall 893:Landscape with Waterfall 329:A View of Egmond aan Zee 5025:View of Bentheim Castle 4864:10.1163/187501732X00051 4812:Watson, Robert (2011). 4697:Slive, Seymour (2011). 4688:Slive, Seymour (2006). 4669:Slive, Seymour (2005). 4650:Slive, Seymour (2001). 4631:Slive, Seymour (1995). 4611:Slive, Seymour (1982). 4397:North, Michael (1997). 4212:10.5092/jhna.2015.7.1.2 3958:10.1163/187501780X00238 3891:. London: John Murray. 3854:10.1163/187501715X00032 2935:"In line with van Gogh" 1645:National Gallery of Art 480:A View of Burg Bentheim 233:became highly popular. 5049:View of Egmond aan Zee 4877:. London: H. G. Bohn. 4871:Wornum, Ralph (1848). 4495:Schama, Simon (2011). 4193:Jager, Angela (2015). 3340:9 October 2021 at the 3208:Bakker & Webb 2012 3136:Goethe & Gage 1980 3028:Goethe & Gage 1980 2796:Hofstede de Groot 1911 2760:Hofstede de Groot 1911 2492:Hofstede de Groot 1911 2304:Hofstede de Groot 1911 2129:Van der Krogt websites 1611:"Salomon van Ruysdael" 1378:Samuel van Hoogstraten 1275: 1209: 1160: 1093: 897: 789: 673: 620: 580: 270:in Amsterdam, and the 5446:Painters from Haarlem 5312:Boymans van Beuningen 5041:Storm Off a Sea Coast 4518:"Jacob van Ruijsdael" 1384:for history painting. 1266: 1204: 1149: 1003:In the 19th century, 889: 778: 662: 615: 573: 384:Allart van Everdingen 21:In this article, the 5416:Artists from Haarlem 5154:Entrance to a Forest 5033:Rough Sea at a Jetty 4938:at Wikimedia Commons 4613:"Jacob van Ruisdael" 4026:Graham-Dixon, Andrew 3389:J. Paul Getty Museum 2974:(26 February 2006). 2972:Januszczak, Waldemar 2945:on 27 September 2015 2135:on 17 November 2015. 1396:Hamburger Kunsthalle 1230:J. Paul Getty Museum 1170:Franz Theodor Kugler 856:Adriaen van de Velde 798:, dated 1670, shows 757:nocturnes. Only the 725:Rough Sea at a Jetty 601:. The art historian 361:Salomon van Ruysdael 313:Salomon van Ruysdael 194:Dutch pronunciation: 5436:Dutch male painters 5360:Isaack van Ruisdael 5077:The Jewish Cemetery 4558:10.1086/DIA41504600 3497:on 19 November 2015 3467:on 19 November 2015 3425:on 19 November 2015 3395:on 20 February 2016 3365:on 19 November 2015 3333:Collection Search: 3315:on 19 November 2015 3285:on 19 November 2015 2982:on 21 February 2016 2750:, p. contents. 2105:on 17 November 2015 1651:on 21 December 2015 1579:on 17 November 2015 1573:J. Paul Getty Trust 1382:hierarchy of genres 1181:Andrew Graham-Dixon 1165:The Jewish Cemetery 1136:Master of Landscape 1104:Waldemar Januszczak 1083:Waldemar Januszczak 978:Thomas Gainsborough 974:Hudson River School 972:in France, and the 770:Constantijn Huygens 694:The Jewish Cemetery 665:The Jewish Cemetery 423:in the 1640s, with 357:Isaack van Ruisdael 284:Hudson River School 282:in France, and the 126:The Jewish Cemetery 5401:Jacob van Ruisdael 4973:Jacob van Ruisdael 4936:Jacob van Ruisdael 4594:Jacob van Ruisdael 4456:Jacob van Ruisdael 4275:Jacob van Ruisdael 4055:Hinrichs, Jan Paul 3889:Landscape into Art 3800:The Boston Phoenix 3530:, p. 234–235. 3255:on 13 January 2016 3210:, p. 212–213. 3138:, p. 213–215. 2864:, p. 695–696. 2630:on 23 January 2016 2330:, p. 591–593. 2279:, p. 141–208. 1558:, p. 389–419. 1312:Cornelis de Graeff 1276: 1210: 1161: 898: 800:Wijk bij Duurstede 790: 674: 621: 581: 542:disaster year 1672 177:Cornelis de Graeff 113:Landscape painting 38:Jacob van Ruisdael 5441:Landscape artists 5426:Dutch printmakers 5388: 5387: 4987:List of paintings 4934:Media related to 4905:978-90-70403-25-6 4842:978-94-017-9173-1 4823:978-0-8122-0425-4 4804:978-0-300-04994-7 4781:978-0-7148-1330-1 4764:Stechow, Wolfgang 4755:978-0-87099-509-5 4708:978-1-60606-055-1 4680:978-1-903973-24-0 4661:978-0-300-08972-1 4642:978-0-300-07451-2 4603:978-90-290-8471-0 4584:978-0-19-101533-5 4508:978-1-4090-1865-0 4487:978-0-679-78124-0 4446:978-1-55619-560-0 4427:978-1-86189-800-5 4408:978-0-300-05894-9 4389:978-0-89236-201-1 4370:978-0-691-04051-6 4322:978-0-300-06016-4 4303:978-1-58839-273-2 4284:978-0-8109-2280-8 4268:on 15 March 2016. 4250:978-90-429-1923-5 4231:978-0-500-23865-3 4185:978-0-19-820734-4 4158:978-90-6078-076-3 4139:Houbraken, Arnold 4017:978-0-8153-0065-6 3998:978-0-520-03996-4 3976:978-0-8122-8105-7 3936:978-0-89236-322-3 3898:978-0-7195-3610-6 3825:978-1-4094-0486-6 3220:Graham-Dixon 2013 2073:, pp. 60–65. 1850:, pp. 22–25. 1621:on 6 January 2016 1239:was auctioned at 1053:, founder of the 872:Gerard van Battum 860:Philips Wouwerman 637:Georges Duplessis 603:Hofstede de Groot 509:Ruisdael was not 223:landscape painter 187: 186: 5453: 5380: 5379: 5307:Frick Collection 5186:The Ray of Light 5147:Thomas de Keyser 5145:(c. 1660) (with 4966: 4959: 4952: 4943: 4933: 4909: 4886: 4867: 4846: 4827: 4808: 4796: 4785: 4773: 4759: 4747: 4732: 4712: 4693: 4684: 4665: 4646: 4627: 4620:Harvard Magazine 4617: 4607: 4588: 4569: 4540: 4522: 4512: 4491: 4467: 4450: 4431: 4412: 4393: 4374: 4355: 4332:The Art Bulletin 4326: 4307: 4288: 4269: 4254: 4235: 4216: 4214: 4189: 4170: 4134: 4108: 4091: 4074: 4050: 4033: 4021: 4002: 3980: 3961: 3952:(2–3): 141–208. 3940: 3921: 3902: 3880: 3857: 3834:Bredius, Abraham 3829: 3810: 3808: 3806: 3790: 3777: 3756: 3750: 3744: 3738: 3732: 3726: 3720: 3714: 3705: 3699: 3693: 3692:, p. 93–95. 3687: 3681: 3675: 3669: 3663: 3657: 3651: 3645: 3639: 3633: 3627: 3621: 3615: 3609: 3603: 3594: 3588: 3582: 3576: 3570: 3564: 3558: 3552: 3546: 3540: 3531: 3525: 3519: 3513: 3507: 3506: 3504: 3502: 3493:. Archived from 3483: 3477: 3476: 3474: 3472: 3463:. Archived from 3453: 3447: 3441: 3435: 3434: 3432: 3430: 3421:. Archived from 3411: 3405: 3404: 3402: 3400: 3391:. Archived from 3381: 3375: 3374: 3372: 3370: 3361:. Archived from 3351: 3345: 3331: 3325: 3324: 3322: 3320: 3311:. Archived from 3301: 3295: 3294: 3292: 3290: 3281:. Archived from 3271: 3265: 3264: 3262: 3260: 3251:. Archived from 3249:National Gallery 3241: 3235: 3229: 3223: 3217: 3211: 3205: 3199: 3193: 3187: 3181: 3175: 3169: 3163: 3157: 3151: 3145: 3139: 3133: 3127: 3121: 3115: 3109: 3103: 3097: 3091: 3085: 3079: 3073: 3067: 3061: 3055: 3049: 3043: 3037: 3031: 3025: 3019: 3013: 3004: 2998: 2992: 2991: 2989: 2987: 2978:. Archived from 2968: 2955: 2954: 2952: 2950: 2941:. Archived from 2931: 2925: 2915: 2909: 2899: 2893: 2883: 2877: 2871: 2865: 2859: 2850: 2849:, p. 19–30. 2844: 2838: 2832: 2823: 2817: 2811: 2805: 2799: 2793: 2787: 2781: 2775: 2769: 2763: 2757: 2751: 2745: 2739: 2733: 2724: 2718: 2712: 2706: 2700: 2694: 2688: 2682: 2676: 2675:, p. 11–22. 2670: 2664: 2658: 2652: 2646: 2640: 2639: 2637: 2635: 2626:. Archived from 2616: 2610: 2609: 2581: 2575: 2569: 2563: 2562:, p. 26-28. 2557: 2551: 2545: 2534: 2528: 2522: 2516: 2510: 2504: 2495: 2489: 2483: 2477: 2471: 2465: 2456: 2450: 2444: 2438: 2427: 2426:, p. 43–48. 2421: 2415: 2409: 2403: 2397: 2391: 2385: 2379: 2373: 2367: 2361: 2355: 2349: 2343: 2337: 2331: 2325: 2319: 2313: 2307: 2301: 2295: 2289: 2280: 2274: 2268: 2262: 2256: 2250: 2239: 2233: 2227: 2221: 2212: 2206: 2200: 2194: 2188: 2182: 2176: 2170: 2161: 2160:, p. 49–60. 2155: 2149: 2143: 2137: 2136: 2131:. Archived from 2121: 2115: 2114: 2112: 2110: 2095: 2089: 2083: 2074: 2068: 2062: 2056: 2050: 2044: 2038: 2032: 2026: 2020: 2014: 2013: 2011: 2009: 2000:. Archived from 1989: 1980: 1974: 1968: 1967:, p. 19–20. 1962: 1956: 1950: 1941: 1940: 1938: 1936: 1927:. Archived from 1917: 1904: 1898: 1892: 1886: 1880: 1874: 1868: 1862: 1851: 1845: 1839: 1833: 1827: 1821: 1815: 1809: 1803: 1797: 1791: 1785: 1779: 1773: 1764: 1758: 1749: 1743: 1737: 1731: 1725: 1719: 1710: 1704: 1695: 1689: 1678: 1672: 1661: 1660: 1658: 1656: 1647:. Archived from 1637: 1631: 1630: 1628: 1626: 1617:. Archived from 1615:National Gallery 1607: 1601: 1595: 1589: 1588: 1586: 1584: 1575:. Archived from 1565: 1559: 1553: 1547: 1546:, p. 17–21. 1541: 1535: 1529: 1508: 1506: 1495: 1489: 1482: 1476: 1473: 1467: 1463: 1457: 1453: 1447: 1433: 1427: 1419:Viburnum lantana 1414: 1408: 1405: 1399: 1391: 1385: 1374: 1368: 1365: 1359: 1356: 1350: 1347: 1341: 1337: 1331: 1328: 1280:Dutch Golden Age 1273: 1237:Dunes by the Sea 1214:National Gallery 1206:Dunes by the Sea 1159: 1665–1670) 1158: 1106: 1030:The Ray of Light 1005:Vincent van Gogh 948: 931: 868:Thomas de Keyser 787: 754:Wolfgang Stechow 737: 716:Simon de Vlieger 710: 671: 599:Hermitage Museum 525:subgroup of the 488:Nicolaas Berchem 485: 476: 458: 425:Nicolaes Berchem 410:Meindert Hobbema 369:Arnold Houbraken 334: 325: 302: 272:Hermitage Museum 264:National Gallery 253:Meindert Hobbema 227:Dutch Golden Age 212: 208: 207: 206: 200: 195: 173: 161:Dutch Golden Age 144:The Ray of Light 121: 103:, Dutch Republic 96: 94: 58: 48: 34: 5461: 5460: 5456: 5455: 5454: 5452: 5451: 5450: 5391: 5390: 5389: 5384: 5370: 5348: 5323: 5293:Painting series 5288: 5101:Bentheim Castle 4975: 4970: 4916: 4906: 4889: 4870: 4849: 4843: 4830: 4824: 4811: 4805: 4788: 4782: 4762: 4756: 4735: 4715: 4709: 4696: 4687: 4681: 4668: 4662: 4649: 4643: 4630: 4615: 4610: 4604: 4591: 4585: 4572: 4543: 4520: 4515: 4509: 4494: 4488: 4470: 4453: 4447: 4434: 4428: 4415: 4409: 4396: 4390: 4377: 4371: 4358: 4344:10.2307/3046038 4329: 4323: 4310: 4304: 4291: 4285: 4272: 4257: 4251: 4238: 4232: 4219: 4192: 4186: 4173: 4159: 4137: 4111: 4094: 4077: 4053: 4036: 4024: 4018: 4005: 3999: 3983: 3977: 3964: 3943: 3937: 3924: 3905: 3899: 3883: 3860: 3832: 3826: 3813: 3804: 3802: 3793: 3780: 3767: 3764: 3759: 3751: 3747: 3739: 3735: 3727: 3723: 3715: 3708: 3700: 3696: 3688: 3684: 3676: 3672: 3664: 3660: 3652: 3648: 3640: 3636: 3628: 3624: 3616: 3612: 3604: 3597: 3589: 3585: 3577: 3573: 3565: 3561: 3553: 3549: 3541: 3534: 3526: 3522: 3514: 3510: 3500: 3498: 3485: 3484: 3480: 3470: 3468: 3455: 3454: 3450: 3442: 3438: 3428: 3426: 3413: 3412: 3408: 3398: 3396: 3383: 3382: 3378: 3368: 3366: 3353: 3352: 3348: 3342:Wayback Machine 3332: 3328: 3318: 3316: 3303: 3302: 3298: 3288: 3286: 3273: 3272: 3268: 3258: 3256: 3243: 3242: 3238: 3230: 3226: 3218: 3214: 3206: 3202: 3194: 3190: 3182: 3178: 3170: 3166: 3158: 3154: 3146: 3142: 3134: 3130: 3122: 3118: 3110: 3106: 3098: 3094: 3086: 3082: 3074: 3070: 3062: 3058: 3050: 3046: 3038: 3034: 3026: 3022: 3014: 3007: 3003:, p. viii. 2999: 2995: 2985: 2983: 2970: 2969: 2958: 2948: 2946: 2933: 2932: 2928: 2916: 2912: 2900: 2896: 2884: 2880: 2872: 2868: 2860: 2853: 2845: 2841: 2833: 2826: 2818: 2814: 2806: 2802: 2794: 2790: 2782: 2778: 2770: 2766: 2758: 2754: 2746: 2742: 2734: 2727: 2719: 2715: 2707: 2703: 2695: 2691: 2683: 2679: 2671: 2667: 2659: 2655: 2647: 2643: 2633: 2631: 2618: 2617: 2613: 2583: 2582: 2578: 2570: 2566: 2558: 2554: 2546: 2537: 2529: 2525: 2517: 2513: 2505: 2498: 2490: 2486: 2478: 2474: 2466: 2459: 2451: 2447: 2439: 2430: 2422: 2418: 2410: 2406: 2398: 2394: 2386: 2382: 2374: 2370: 2362: 2358: 2350: 2346: 2338: 2334: 2326: 2322: 2314: 2310: 2302: 2298: 2290: 2283: 2275: 2271: 2263: 2259: 2251: 2242: 2234: 2230: 2222: 2215: 2211:, p. xiii. 2207: 2203: 2195: 2191: 2183: 2179: 2171: 2164: 2156: 2152: 2144: 2140: 2123: 2122: 2118: 2108: 2106: 2097: 2096: 2092: 2084: 2077: 2069: 2065: 2057: 2053: 2045: 2041: 2033: 2029: 2021: 2017: 2007: 2005: 2004:on 4 March 2016 1991: 1990: 1983: 1975: 1971: 1963: 1959: 1951: 1944: 1934: 1932: 1931:on 3 March 2016 1919: 1918: 1907: 1899: 1895: 1887: 1883: 1875: 1871: 1863: 1854: 1846: 1842: 1834: 1830: 1822: 1818: 1810: 1806: 1798: 1794: 1786: 1782: 1774: 1767: 1759: 1752: 1744: 1740: 1732: 1728: 1720: 1713: 1705: 1698: 1690: 1681: 1673: 1664: 1654: 1652: 1639: 1638: 1634: 1624: 1622: 1609: 1608: 1604: 1596: 1592: 1582: 1580: 1567: 1566: 1562: 1554: 1550: 1542: 1538: 1530: 1526: 1522: 1517: 1512: 1511: 1496: 1492: 1486:Jewish Cemetery 1483: 1479: 1474: 1470: 1464: 1460: 1454: 1450: 1434: 1430: 1424:Bentheim Castle 1415: 1411: 1406: 1402: 1392: 1388: 1375: 1371: 1366: 1362: 1357: 1353: 1348: 1344: 1338: 1334: 1329: 1325: 1320: 1294:epistemological 1261: 1199: 1144: 1108: 1095: 1072:Abraham Bredius 1051:Joshua Reynolds 998:Jewish Cemetery 982:J. M. W. Turner 970:Barbizon school 962: 961: 960: 959: 958: 949: 940: 939: 938: 932: 921: 884: 744: 679:Bentheim Castle 657: 568: 563: 557: 494: 493: 492: 491: 490: 477: 469: 468: 464:Bentheim Castle 459: 340: 339: 338: 337: 336: 326: 317: 316: 315: 303: 292: 280:Barbizon school 266:in London, the 203: 202: 201: 193: 171: 119: 104: 98: 92: 90: 82: 73: 71: 70: 60: 39: 30: 17: 12: 11: 5: 5459: 5457: 5449: 5448: 5443: 5438: 5433: 5428: 5423: 5418: 5413: 5408: 5403: 5393: 5392: 5386: 5385: 5375: 5372: 5371: 5369: 5368: 5363: 5356: 5354: 5350: 5349: 5347: 5346: 5339: 5331: 5329: 5325: 5324: 5322: 5321: 5320: 5319: 5314: 5309: 5296: 5294: 5290: 5289: 5287: 5286: 5278: 5270: 5269:(c. 1670–1675) 5262: 5261:(c. 1675–1679) 5254: 5253:(c. 1671–1681) 5246: 5238: 5230: 5222: 5214: 5213:(c. 1665–1670) 5206: 5202:A Wooded Marsh 5198: 5190: 5182: 5174: 5166: 5158: 5150: 5138: 5130: 5122: 5121:(c. 1652–1660) 5114: 5106: 5097: 5096:(c. 1647–1653) 5089: 5081: 5073: 5065: 5053: 5045: 5037: 5029: 5021: 5013: 5005: 4997: 4989: 4983: 4981: 4977: 4976: 4971: 4969: 4968: 4961: 4954: 4946: 4940: 4939: 4927: 4915: 4914:External links 4912: 4911: 4910: 4904: 4887: 4868: 4847: 4841: 4828: 4822: 4809: 4803: 4786: 4780: 4760: 4754: 4733: 4713: 4707: 4694: 4685: 4679: 4666: 4660: 4647: 4641: 4633:Dutch Painting 4628: 4608: 4602: 4589: 4583: 4570: 4552:(3): 133–143. 4541: 4513: 4507: 4492: 4486: 4468: 4451: 4445: 4432: 4426: 4413: 4407: 4394: 4388: 4375: 4369: 4356: 4338:(3): 451–464. 4327: 4321: 4308: 4302: 4289: 4283: 4270: 4255: 4249: 4236: 4230: 4217: 4190: 4184: 4171: 4157: 4135: 4109: 4092: 4075: 4051: 4034: 4022: 4016: 4003: 3997: 3981: 3975: 3962: 3941: 3935: 3922: 3903: 3897: 3885:Clark, Kenneth 3881: 3858: 3830: 3824: 3811: 3791: 3783:Turner Studies 3778: 3763: 3760: 3758: 3757: 3745: 3733: 3731:, p. 138. 3721: 3706: 3704:, p. 181. 3694: 3682: 3680:, p. 456. 3670: 3668:, p. 126. 3658: 3656:, p. 145. 3646: 3644:, p. 141. 3634: 3622: 3610: 3608:, p. 104. 3595: 3593:, p. 134. 3583: 3581:, p. 875. 3571: 3567:Kuznetsov 1983 3559: 3557:, p. 171. 3547: 3532: 3520: 3516:Kuznetsov 1983 3508: 3491:Teylers Museum 3478: 3448: 3436: 3406: 3376: 3346: 3326: 3296: 3266: 3236: 3224: 3212: 3200: 3198:, p. 201. 3188: 3176: 3174:, p. 338. 3164: 3160:Rosenberg 1928 3152: 3140: 3128: 3116: 3104: 3092: 3090:, p. 195. 3080: 3068: 3056: 3044: 3040:Kuznetsov 1983 3032: 3030:, p. 210. 3020: 3018:, p. 450. 3005: 2993: 2956: 2926: 2910: 2894: 2878: 2876:, p. 695. 2866: 2851: 2839: 2824: 2812: 2800: 2788: 2786:, p. 261. 2776: 2774:, p. 131. 2764: 2752: 2740: 2725: 2723:, p. 175. 2713: 2701: 2689: 2687:, p. 157. 2677: 2665: 2663:, p. 570. 2653: 2641: 2611: 2576: 2564: 2552: 2535: 2531:Kuznetsov 1983 2523: 2521:, p. 439. 2511: 2496: 2484: 2472: 2470:, p. 154. 2457: 2445: 2443:, p. 181. 2428: 2416: 2404: 2392: 2390:, p. 207. 2380: 2368: 2356: 2344: 2342:, p. 109. 2340:Duplessis 1871 2332: 2320: 2308: 2306:, p. 275. 2296: 2281: 2269: 2267:, p. 491. 2257: 2240: 2228: 2213: 2201: 2199:, p. 369. 2189: 2187:, p. 366. 2177: 2162: 2150: 2148:, p. 540. 2138: 2116: 2090: 2086:Houbraken 1718 2075: 2071:Hinrichs 2013b 2063: 2061:, p. 101. 2059:Scheltema 1872 2051: 2049:, p. 397. 2039: 2035:Wüstefeld 1989 2027: 2015: 1981: 1979:, p. 105. 1977:Scheltema 1872 1969: 1957: 1955:, p. 153. 1942: 1905: 1893: 1891:, p. 788. 1881: 1879:, p. xii. 1869: 1852: 1840: 1838:, p. 369. 1828: 1816: 1804: 1792: 1780: 1765: 1761:Kuznetsov 1983 1750: 1748:, p. 801. 1738: 1726: 1711: 1707:Houbraken 1718 1696: 1679: 1662: 1632: 1602: 1600:, p. 104. 1590: 1560: 1548: 1536: 1523: 1521: 1518: 1516: 1513: 1510: 1509: 1490: 1477: 1468: 1458: 1448: 1428: 1409: 1400: 1386: 1369: 1360: 1351: 1342: 1332: 1322: 1321: 1319: 1316: 1260: 1257: 1245:Teylers Museum 1198: 1195: 1143: 1142:Interpretation 1140: 1088: 1024:The Breakwater 986:John Constable 956:John Constable 950: 943: 942: 941: 933: 926: 925: 924: 923: 922: 920: 917: 883: 880: 876:Jan Lingelbach 743: 740: 731:A Wooded Marsh 672: 1654–55) 656: 653: 648:The Travellers 607:Dune Landscape 594:Dune Landscape 576:Dune Landscape 567: 564: 559:Main article: 556: 553: 478: 471: 470: 460: 453: 452: 451: 450: 449: 417:Egmond aan Zee 380:Cornelis Vroom 327: 320: 319: 318: 308:Egmond aan Zee 304: 297: 296: 295: 294: 293: 291: 288: 260:Dutch Republic 231:Dutch painting 185: 184: 181: 180: 174: 168: 167: 164: 163: 158: 154: 153: 150:A Wooded Marsh 122: 116: 115: 110: 109:Known for 106: 105: 99: 88: 84: 83: 80:Dutch Republic 74: 68: 66: 62: 61: 49: 41: 40: 37: 15: 13: 10: 9: 6: 4: 3: 2: 5458: 5447: 5444: 5442: 5439: 5437: 5434: 5432: 5429: 5427: 5424: 5422: 5419: 5417: 5414: 5412: 5409: 5407: 5404: 5402: 5399: 5398: 5396: 5383: 5373: 5367: 5364: 5361: 5358: 5357: 5355: 5351: 5345: 5344: 5340: 5338: 5337: 5333: 5332: 5330: 5326: 5318: 5315: 5313: 5310: 5308: 5305: 5304: 5303: 5302: 5298: 5297: 5295: 5291: 5284: 5283: 5279: 5276: 5275: 5271: 5268: 5267: 5263: 5260: 5259: 5255: 5252: 5251: 5247: 5244: 5243: 5239: 5236: 5235: 5231: 5228: 5227: 5223: 5220: 5219: 5215: 5212: 5211: 5207: 5204: 5203: 5199: 5196: 5195: 5191: 5188: 5187: 5183: 5180: 5179: 5175: 5172: 5171: 5167: 5164: 5163: 5159: 5156: 5155: 5151: 5148: 5144: 5143: 5139: 5136: 5135: 5134:The Watermill 5131: 5128: 5127: 5123: 5120: 5119: 5115: 5112: 5111: 5107: 5104: 5102: 5098: 5095: 5094: 5090: 5087: 5086: 5082: 5079: 5078: 5074: 5071: 5070: 5066: 5063: 5059: 5058: 5054: 5051: 5050: 5046: 5043: 5042: 5038: 5035: 5034: 5030: 5027: 5026: 5022: 5019: 5018: 5014: 5011: 5010: 5006: 5003: 5002: 4998: 4995: 4994: 4990: 4988: 4985: 4984: 4982: 4978: 4974: 4967: 4962: 4960: 4955: 4953: 4948: 4947: 4944: 4937: 4932: 4928: 4925: 4921: 4918: 4917: 4913: 4907: 4901: 4897: 4893: 4888: 4884: 4880: 4876: 4875: 4869: 4865: 4861: 4857: 4853: 4848: 4844: 4838: 4834: 4829: 4825: 4819: 4815: 4810: 4806: 4800: 4795: 4794: 4787: 4783: 4777: 4772: 4771: 4765: 4761: 4757: 4751: 4746: 4745: 4739: 4734: 4730: 4726: 4722: 4718: 4714: 4710: 4704: 4700: 4695: 4691: 4686: 4682: 4676: 4672: 4667: 4663: 4657: 4653: 4648: 4644: 4638: 4634: 4629: 4625: 4621: 4614: 4609: 4605: 4599: 4595: 4590: 4586: 4580: 4576: 4571: 4567: 4563: 4559: 4555: 4551: 4547: 4542: 4538: 4534: 4530: 4526: 4519: 4514: 4510: 4504: 4500: 4499: 4493: 4489: 4483: 4479: 4478: 4473: 4472:Schama, Simon 4469: 4465: 4461: 4457: 4452: 4448: 4442: 4438: 4433: 4429: 4423: 4419: 4414: 4410: 4404: 4400: 4395: 4391: 4385: 4381: 4376: 4372: 4366: 4362: 4357: 4353: 4349: 4345: 4341: 4337: 4333: 4328: 4324: 4318: 4314: 4309: 4305: 4299: 4295: 4290: 4286: 4280: 4276: 4271: 4267: 4263: 4262: 4256: 4252: 4246: 4242: 4237: 4233: 4227: 4223: 4218: 4213: 4208: 4204: 4200: 4196: 4191: 4187: 4181: 4177: 4172: 4168: 4164: 4160: 4154: 4150: 4146: 4145: 4140: 4136: 4132: 4128: 4124: 4120: 4119: 4114: 4110: 4106: 4102: 4098: 4093: 4089: 4085: 4081: 4076: 4072: 4068: 4064: 4060: 4056: 4052: 4049:(9): 206–207. 4048: 4044: 4040: 4035: 4031: 4027: 4023: 4019: 4013: 4009: 4004: 4000: 3994: 3990: 3989:Goethe on Art 3986: 3982: 3978: 3972: 3968: 3963: 3959: 3955: 3951: 3947: 3942: 3938: 3932: 3928: 3923: 3919: 3915: 3911: 3910: 3904: 3900: 3894: 3890: 3886: 3882: 3878: 3874: 3870: 3866: 3865: 3859: 3855: 3851: 3847: 3843: 3839: 3835: 3831: 3827: 3821: 3817: 3812: 3801: 3797: 3792: 3788: 3784: 3779: 3775: 3771: 3766: 3765: 3761: 3755:, p. 25. 3754: 3749: 3746: 3743:, p. 73. 3742: 3737: 3734: 3730: 3725: 3722: 3719:, p. 17. 3718: 3713: 3711: 3707: 3703: 3698: 3695: 3691: 3686: 3683: 3679: 3674: 3671: 3667: 3662: 3659: 3655: 3650: 3647: 3643: 3638: 3635: 3631: 3626: 3623: 3620:, p. 79. 3619: 3614: 3611: 3607: 3602: 3600: 3596: 3592: 3587: 3584: 3580: 3575: 3572: 3568: 3563: 3560: 3556: 3551: 3548: 3545:, p. 34. 3544: 3539: 3537: 3533: 3529: 3524: 3521: 3517: 3512: 3509: 3496: 3492: 3488: 3482: 3479: 3466: 3462: 3458: 3452: 3449: 3445: 3440: 3437: 3424: 3420: 3416: 3410: 3407: 3394: 3390: 3386: 3380: 3377: 3364: 3360: 3356: 3350: 3347: 3343: 3339: 3336: 3330: 3327: 3314: 3310: 3306: 3300: 3297: 3284: 3280: 3276: 3270: 3267: 3254: 3250: 3246: 3240: 3237: 3234:, p. 28. 3233: 3228: 3225: 3221: 3216: 3213: 3209: 3204: 3201: 3197: 3192: 3189: 3186:, p. 29. 3185: 3180: 3177: 3173: 3168: 3165: 3162:, p. 30. 3161: 3156: 3153: 3149: 3144: 3141: 3137: 3132: 3129: 3125: 3120: 3117: 3113: 3108: 3105: 3101: 3096: 3093: 3089: 3084: 3081: 3078:, p. 32. 3077: 3072: 3069: 3066:, p. 19. 3065: 3060: 3057: 3053: 3048: 3045: 3041: 3036: 3033: 3029: 3024: 3021: 3017: 3012: 3010: 3006: 3002: 2997: 2994: 2981: 2977: 2973: 2967: 2965: 2963: 2961: 2957: 2944: 2940: 2936: 2930: 2927: 2923: 2919: 2914: 2911: 2907: 2903: 2898: 2895: 2891: 2887: 2882: 2879: 2875: 2870: 2867: 2863: 2858: 2856: 2852: 2848: 2847:Bachrach 1981 2843: 2840: 2837:, p. 13. 2836: 2831: 2829: 2825: 2821: 2816: 2813: 2810:, p. ix. 2809: 2808:Wetering 2014 2804: 2801: 2797: 2792: 2789: 2785: 2780: 2777: 2773: 2768: 2765: 2761: 2756: 2753: 2749: 2744: 2741: 2738:, p. 23. 2737: 2732: 2730: 2726: 2722: 2717: 2714: 2711:, p. 66. 2710: 2705: 2702: 2699:, p. 29. 2698: 2693: 2690: 2686: 2681: 2678: 2674: 2669: 2666: 2662: 2657: 2654: 2651:, p. vi. 2650: 2645: 2642: 2629: 2625: 2621: 2615: 2612: 2607: 2603: 2599: 2595: 2591: 2587: 2580: 2577: 2573: 2568: 2565: 2561: 2556: 2553: 2549: 2544: 2542: 2540: 2536: 2532: 2527: 2524: 2520: 2515: 2512: 2508: 2503: 2501: 2497: 2493: 2488: 2485: 2482:, p. 29. 2481: 2476: 2473: 2469: 2464: 2462: 2458: 2455:, p. 68. 2454: 2449: 2446: 2442: 2437: 2435: 2433: 2429: 2425: 2420: 2417: 2414:, p. 56. 2413: 2408: 2405: 2402:, p. 54. 2401: 2396: 2393: 2389: 2384: 2381: 2378:, p. 52. 2377: 2372: 2369: 2366:, p. 25. 2365: 2360: 2357: 2353: 2348: 2345: 2341: 2336: 2333: 2329: 2324: 2321: 2317: 2312: 2309: 2305: 2300: 2297: 2294:, p. 63. 2293: 2292:Sokolova 1988 2288: 2286: 2282: 2278: 2273: 2270: 2266: 2261: 2258: 2254: 2249: 2247: 2245: 2241: 2237: 2232: 2229: 2225: 2220: 2218: 2214: 2210: 2205: 2202: 2198: 2193: 2190: 2186: 2181: 2178: 2175:, p. 26. 2174: 2169: 2167: 2163: 2159: 2154: 2151: 2147: 2142: 2139: 2134: 2130: 2126: 2120: 2117: 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