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Meindert Hobbema
The Avenue at Middlehamis
mk156
1689
Oil on canvas
103.5x141cm
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Meindert Hobbema
The Avenue at Middelharnis
mk170
1689
Oil on canvas
103.5x141cm
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Meindert Hobbema
The Ruins of Brederode Castle
mk170
1671
Oil on canvas
82x106cm
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Meindert Hobbema
The Watermills at Singraven near Denekamp
mk170
1665-1670
Oil on oak
60x84.5cm
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Meindert Hobbema
kvarnen
1692
se
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Meindert Hobbema
allen vid middelharnis
1689
se
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Meindert Hobbema
Windmill at the Riverside
Date ca. 1659/1660
Medium Oil on panel
Dimensions 28 x 37 cm
cjr
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Meindert Hobbema
Cottages beside a Track through a Wood
Medium Oil on panel
cjr
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Meindert Hobbema
Windmill at the Riverside
1659/1660
Medium Oil on panel
Dimensions 28 x 37 cm
cyf
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Meindert Hobbema
Hut among Trees
Date 1664(1664)
Medium Oil on canvas
cjr
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Meindert Hobbema
A Wooded Landscape
1667(1667)
Medium Oil on panel
Dimensions 24 x 33.5 in (61 x 85.1 cm)
cyf
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Meindert Hobbema
Cottages beside a Track through a Wood
Oil on panel
cyf
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Meindert Hobbema
Landscape with a Hut
1660(1660)
Medium oil on panel
cyf
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Meindert Hobbema
The Water Mill
between 1663(1663) and 1668(1668)
Medium oil on panel
cyf
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Meindert Hobbema
The Water Mill
second half of 17th century
Medium oil on oak
cyf
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Meindert Hobbema
Dorf mit den Wassermuhlen
c. 1668(1668)
Medium oil on panel
Dimensions 59 x 82 cm
cjr
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Meindert Hobbema
View Along the Amstel
c. 1660
Medium English: Oil on panel
Dimensions 13 3/4 x 18 3/4 in. (34.9 x 47.6 cm)
cjr
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Meindert Hobbema
A Watermill beside a Woody Lane
circa 1665(1665)
Medium oil on canvas
cyf
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| Meindert Hobbema
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1638-1709
Dutch
Meindert Hobbema Galleries
In the exercise of his craft Hobbema was patient beyond all conception. It is doubtful whether any one ever so completely mastered as he did the still life of woods and hedges, or mills and pools. Nor can we believe that he obtained this mastery otherwise than by constantly dwelling in the same neighbourhood, say in Guelders or on the Dutch Westphalian border, where day after day he might study the branching and foliage of trees and underwood embowering cottages and mills, under every variety of light, in every shade of transparency, in all changes produced by the seasons. Though his landscapes are severely and moderately toned, generally in an olive key, and often attuned to a puritanical grey or russet, they surprise us, not only by the variety of their leafage, but by the finish of their detail as well as the boldness of their touch. With astonishing subtlety light is shown penetrating cloud, and illuminating, sometimes transiently, sometimes steadily, different portions of the ground, shining through leaves upon other leaves, and multiplying in an endless way the transparency of the picture. If the chance be given him he mirrors all these things in the still pool near a cottage, the reaches of a sluggish river, or the swirl of the stream that feeds a busy mill. The same spot will furnish him with several pictures. One mill gives him repeated opportunities of charming our eye; and this wonderful artist, who is only second to Ruisdael because he had not Ruisdael's versatility and did not extend his study equally to downs and rocky eminences, or torrents and estuaries - this is the man who lived penuriously, died poor, and left no trace in the artistic annals of his country. It has been said that Hobbema did not paint his own figures, but transferred that duty to Adriaen van de Velde, Lingelbach, Barendt Gael, and Abraham Storck. As to this much is conjecture.
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