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Oil Paintings
Come From United Kingdom
An option that you can own an 100% hand-painted oil painting from our talent artists. |
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Jacob van Ruisdael
Dutch Baroque Era Painter, ca.1628-1682
Ruysdael's favorite subjects are simple woodland scenes, similar to those of Everdingen and Hobbema. He is especially noted as a painter of trees, and his rendering of foliage, particularly of oak leaf age, is characterized by the greatest spirit and precision. His views of distant cities, such as that of Haarlem in the possession of the marquess of Bute, and that of Katwijk in the Glasgow Corporation Galleries, clearly indicate the influence of Rembrandt.
He frequently painted coast-scenes and sea-pieces, but it is in his rendering of lonely forest glades that we find him at his best. The subjects of certain of his mountain scenes seem to be taken from Norway, and have led to the supposition that he had traveled in that country. We have, however, no record of such a journey, and the works in question are probably merely adaptations from the landscapes of Van Everdingen, whose manner he copied at one period. Only a single architectural subject from his brush is known--an admirable interior of the New Church, Amsterdam. The prevailing hue of his landscapes is a full rich green, which, however, has darkened with time, while a clear grey tone is characteristic of his seapieces. The art of Ruysdael, while it shows little of the scientific knowledge of later landscapists, is sensitive and poetic in sentiment, and direct and skillful in technique. Figures are sparingly introduced into his compositions, and such as occur are believed to be from the pencils of Adriaen van de Velde, Philip Wouwerman, and Jan Lingelbach.
Unlike the other great Dutch landscape painters, Ruysdael did not aim at a pictorial record of particular scenes, but he carefully thought out and arranged his compositions, introducing into them an infinite variety of subtle contrasts in the formation of the clouds, the plants and tree forms, and the play of light. He particularly excelled in the painting of cloudscapes which are spanned dome-like over the landscape, and determine the light and shade of the objects.
Goethe lauded him as a poet among painters, and his work shows some of the sensibilities the Romantics would later celebrate. |
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Jacob van Ruisdael
The Great Forest
Art History Museum, Vienna
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Jacob van Ruisdael
Rough Sea
1670
Museum of Fine Arts, Boston
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Jacob van Ruisdael
Sunlight on the Waterfront
26 in x 32
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Jacob van Ruisdael
Two Watermills and an Open Sluice near Singraven
1650
Oil on canvas,
87,3 x 111,5 cm
National Gallery
London
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Jacob van Ruisdael
Bentheim Castle
1653Oil on canvas
National Gallery
of Ireland, Dublin
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Jacob van Ruisdael
The Castle at Bentheim
1651
Oil on canvas,
97,7 x 81,3
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Jacob van Ruisdael
The Great Oak
1652Oil on canvas
Los Angeles
County Museum
of Art,Los Angeles
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Jacob van Ruisdael
Landscape with House in the Grove
1646Oil on canvas
105 x 162 cm
The Hermitage,
St. Petersburg
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Jacob van Ruisdael
View of Amsterdam
Oil on canvas,
52,5 x 43,5 cm
Museum of Fine
Arts, Budapest
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Jacob van Ruisdael
Two Water Mills an Open Sluice
1653Oil on canvas
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Jacob van Ruisdael
The Dam Square in Amsterdam
1670Oil on canvas
52 x 65 cm
Staatliche
Museen, Berlin
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Jacob van Ruisdael
The Hunt
Oil on canvas
107,5 x 147 cm
Gemaldegalerie
Dresden
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Jacob van Ruisdael
Jewish Cemetery
1655Oil on canvas
Gemaldegalerie,
Dresden
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Jacob van Ruisdael
Jewish Cemetery
1657Oil on canvas
141 x 182.9 cm
Institute of Arts,
Detroit
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Jacob van Ruisdael
The Large Forest
Oil on canvas,
140 x 180 cm
Kunsthistorisches
Museum, Vienna
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Jacob van Ruisdael
Landscape with Church and Village
1665Oil on canvas
59,1 x 73,2 cm
Alte Pinakothek,
Munich
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Jacob van Ruisdael
The Marsh in a Forest
c. 1665
Oil on canvas,
72,5 x 99 cm
The Hermitage,
St. Petersburg
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Jacob van Ruisdael
Ray of Sunlight
1660Oil on canvas
83 x 99 cmLouvre
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Jacob van Ruisdael
An Extensive Landscape with Ruined Castle and Village Church
1665Oil on canvas
109 x 146 cm
National Gallery,
London
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Jacob van Ruisdael
View of Haarlem with Bleaching
Grounds c 1665
Oil on canvas,
62,2 x 55,2 cm
Kunsthaus, Zurich
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| Jacob van Ruisdael
|
Dutch Baroque Era Painter, ca.1628-1682
Ruysdael's favorite subjects are simple woodland scenes, similar to those of Everdingen and Hobbema. He is especially noted as a painter of trees, and his rendering of foliage, particularly of oak leaf age, is characterized by the greatest spirit and precision. His views of distant cities, such as that of Haarlem in the possession of the marquess of Bute, and that of Katwijk in the Glasgow Corporation Galleries, clearly indicate the influence of Rembrandt.
He frequently painted coast-scenes and sea-pieces, but it is in his rendering of lonely forest glades that we find him at his best. The subjects of certain of his mountain scenes seem to be taken from Norway, and have led to the supposition that he had traveled in that country. We have, however, no record of such a journey, and the works in question are probably merely adaptations from the landscapes of Van Everdingen, whose manner he copied at one period. Only a single architectural subject from his brush is known--an admirable interior of the New Church, Amsterdam. The prevailing hue of his landscapes is a full rich green, which, however, has darkened with time, while a clear grey tone is characteristic of his seapieces. The art of Ruysdael, while it shows little of the scientific knowledge of later landscapists, is sensitive and poetic in sentiment, and direct and skillful in technique. Figures are sparingly introduced into his compositions, and such as occur are believed to be from the pencils of Adriaen van de Velde, Philip Wouwerman, and Jan Lingelbach.
Unlike the other great Dutch landscape painters, Ruysdael did not aim at a pictorial record of particular scenes, but he carefully thought out and arranged his compositions, introducing into them an infinite variety of subtle contrasts in the formation of the clouds, the plants and tree forms, and the play of light. He particularly excelled in the painting of cloudscapes which are spanned dome-like over the landscape, and determine the light and shade of the objects.
Goethe lauded him as a poet among painters, and his work shows some of the sensibilities the Romantics would later celebrate.
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