EXHIBITION REVIEWS these pictures through a painstaking process of trial and error akin to that which he demonstrates in the preparatory drawings for his figure paintings. This hypothesis can only be tested by a more thorough technical examination of the surviving land- scapes - an investigation which is long overdue. For the moment, the X-rays of the Pyramusand Thisbe stand as tantalising evidence that, in landscape at least, Poussin's classicism may have been more intuitive than has hitherto been suspected. One other explanation may be offered for the complicated evolution of the Frankfurt picture. In his landscapes of 1648-50 Poussin often portrays themes of death or unrequited love against a natural setting which increasingly reflects their tragic mood. Thus, if the two Phocion pictures and the with a man killed a Snake Landscape by 71. witha lakeand a round Hercules 29.3 by 45.7 cm. (Museum Boymans-van of 1648 still these themes an Landscape building,by Segers. depict against Beuningen, Rotterdam; exh. Museum of Fine Arts, Boston). heroic landscape background, the Landscape with Polyphemusof the following year already mirrors its ominous subject with a more man to the cycles of nature, a theme which works also are restricted to one or two irrational vision of nature. This tendency is was to preoccupy him in his final years venues, an inevitability in a large travelling carried further in the Landscapewith Orpheus and finds its definitive expression in the exhibition studded with masterpieces. Of and Eurydiceof 1650, where the threatening Four seasons. course, no painting can stand in for another, sky, the smoking castle, and the encroaching RICHARD VERDI but some are more equal than others. One foreground shadow reflect the fate of the Universityof York brilliant trade-off was arranged: the Mar- lovers and Poussin's of Bute's sun-drenched mythological anticipate '.Nicolas Poussin, ClaudeLorrain, Zu den Bildern im Stiidel. quess monumental, treatment of a similar theme in Pyramus Edited by Michael Maek-Gbrard. 133 pp. + 19 col. Cuyp, arguably the summit of his achieve- and Thisbe. pls. + 83 b. & w. ills. (Stfdtische Galerie, Frankfurt ment, was shown only in Amsterdam while In a drawing at Diisseldorf which was am Main), 1988. DM 30. its grandiose near-equal from Buckingham included in the Frankfurt exhibition, Poussin 2Nicolas Poussin, Landschaft mit Pyramus und Thisbe, Palace and Cuyp's miraculously luminous depicts a panoramic landscape setting with Das Liebesungliickund die Grenzender Malerei. By Oskar View of Nijmegen from Indianapolis will be Biitschmann. 88 + 1 col. + 40 b. & w. ills. a blazing castle at the left in the manner pp. pl. seen only in America. Other gaps are un- of the and and a (Fischer Taschenbuch Verlag, Frankfurt am Main, fillable: Hobbema's Avenueat Middelharnis Orpheus Eurydice townscape 1987),DM 12.ISBN 3-596-23947-8. at the right which relates to that of the (Amsterdam only); two Rembrandts - his Pyramusand Thisbe. Given the similarity in tiny Winterfrom Kassel that has the fresh- theme and date between these two works, Amsterdam, Boston and Philadelphia ness and scale of his best naar het leven this suggests that they were closely associated Seventeenth-Century Dutch land- landscape drawings (Amsterdam and in Poussin's mind from the start and that scape painting Boston only), and his tender, nocturnal his decision to repaint the Frankfurt picture Rest on theflight from Dublin (Boston only); arose from a determination to forge an First things first: the seventeenth-century Detroit's version of Ruisdael's Jewish cem- even greater unity between subject and Dutch landscape exhibition recently seen in etery(Philadelphia only). Despite the limited setting in this work than he had achieved Amsterdam and Boston is the most beautiful appearances of these and a small group of in the OrpheusandEurydice or the essentially and comprehensive mounted in our time other outstanding loans (inconsistently sig- calm landscapes which had preceded it (closes Ist May; at the Philadelphia nalled in the catalogue), only the churlish through the portrayal of a natural catas- Museum of Art, 1st June to 31st July). will feel deprived after seeing the abundant trophe which mirrored that of his mytho- The exhibition, conceived by Peter Sutton core of great and near-great paintings. logical theme. and organised in collaboration with Pieter Ruisdael has justifiably been given pride Bitschmann plausibly suggests that van Thiel, and its encyclopaedic catalogue of place and number. The impact of his Poussin's decision to depict the doomed are musts for anyone with a passion for towering achievement would have been mythological lovers in this way may have landscape painting.' more impressive in Boston and Philadelphia been inspired by a tragedy on the theme To judge from the 123 paintings included if Braunschweig's huge Hilly landscapewith of Pyramus and Thisbe by Th6ophile de in the catalogue, the organisers had vir- a large oak (No.82) had been shown as Viau, first published in 1623, in which tually every key Dutch landscape on their planned. Regrettably, signs of a minor Thisbe's mother perceives a vision of her list of desiderata, amply fulfilled, apart problem with its paint surface were detected daughter's death against the background from some uncontestable candidates at the in Amsterdam, and it was decided not to of a raging storm. He also notes that the Hermitage and Dresden. Also missing send it across the Atlantic. However, the inclusion of these figures in the Frankfurt is Rembrandt's Landscape with the good Rijksmuseum's Windmill at Wijk made the picture calls to mind Leonardo's word for Samaritan at Cracow, a painting few west- trip. Those familiar with this most famous a tempest -fortuna - a term which equally ern students have seen and which provides seventeenth-century Dutch landscape will applies to the tragic twist of fate which the crucial visual evidence that the cele- see it with new eyes. Removal of its veil of has befallen Pyramus and Thisbe. The brated Landscapewith obeliskat the Isabella discoloured varnish during recent resto- result is a dramatic vision of malevolent Stewart Gardner Museum is - as recently ration reveals much more ofJacob's varied nature which constitutes a landmark in demonstrated - by Flinck, not Rembrandt. touch, shifts in the viscosity of his paint Poussin's career and which paved the way However, the exhibition's curators were and a pronounced cool tonality. Some old for two other depictions of human tragedy phenomenally successful elsewhere. They abrasion in the foreground, particularly set against a stormy landscape, the Rouen even convinced the Gardner trustees to in passages of the thinly painted reeds on picture of 1651 - which, interestingly, in- allow their demoted Rembrandt to make the river bank, is now more apparent. cludes no major pentimenti- and the Deluge the five-minute trip to the Museum of Of the thirteen categories Stechow estab- from the Four seasons of 1660-64. In this Fine Arts, becoming the second work lent lished in his pioneering, essentially topo- regard, the Landscapewith Pyramusand Thisbe from the Gardner since its opening in 1925. graphical typology of Dutch landscape represents Poussin's fullest formulation to The Gardner landscape was exhibited (dunes, woods, winterscapes, panoramas date of the forces which bind the life of only in Boston. A few other outstanding and so on) Ruisdael plays a key r6le in

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(No. 111), includes a thumbnail history of a type of iceboat seen in the picture and a report on winter conditions in Holland in c.1610, the date assigned to the picture with sound reasons. In a discussion of Wijnants's Dune landscape with figures attributable to Adriaen van de Velde (No. 117) we learn that another Wijnants passed through the art market in 1963 that was signed and dated twice, first by Wijnants in 1661 and then by Lingelbach in 1664, establishing that three years could pass between the time the artist finished a 72. Viewof Zwolle,by landscape and another was called to pro- Hendrick ten Oever. vide its figures. The commentary on ten 1675. 66.5 by 87 cm. Oever's View of, wolle (Fig.72) includes a (Torrie Collection, of nude bathers in Dutch of survey landscape. University Occasionally one suspects that, in their Edinburgh;exh. enthusiasm to the enormous amount Museum of Fine present Arts, of collateral material have Boston). they gathered, the cataloguers did not spend enough time ten. All the themes he depicted are rep- Since the grand exhibition of Dutch looking anew at the paintings themselves. resented here, except for a beach scene, a landscape at the Orangerie in 1950-51 our A fresh look, for example, at Ruisdael's marine and a city view. Omission of the last conception of the subject has been much majestic Oaks beside a pool from Berlin two was a deliberate decision on Sutton's enlarged. The Paris selection of more than (Fig.73) shows that parts of its background part, though he recognises that both are one hundred important paintings (some have turned unpleasant shades of powdery intimately allied with Dutch landscape; included in the present show) and almost greyish-green and are virtually illegible. indeed, pertinent references are made to seventy superlative drawings was a rich A technical analysis may reveal that there them in the catalogue. Moreover, the selec- one. But there Dutch landscape began with has been blanching of the medium or de- tion is not overly rigid: landscapes with Avercamp and Esaias van de Velde, and terioration of smalt in these passages. Not city views are included; river and shore came to a dead stop in c.1675, ignoring a word is said about these disconcerting scenes are amply represented. The exhi- the Flemish landscapists who migrated problems in the catalogue. Instead, we are bition highlights the occasional difficulty into Holland at the turn of the century given an inconclusive exegesis on the poss- - not addressed by Stechow's typology - (Connixloo, Vinckboons, Savery), and the ible meanings of the large dead tree in the of distinguishing a Dutch landscape from so-called 'pre-Rembrandists' (Lastman, foreground, based on its identification as a genre picture. Wouwermans's Riding at Pynas, Wtenbrouck), not to mention Ital- an oak - it is, in fact, a beech. the Herring (No.120), Isack van Ostade's ianates such as Poelenburch, Breenbergh Not all students of Ruisdael will accept Ice scenebefore an inn (No.64), and the lyrical or Asselyn. L.J. Bol's exhibition Nederlandse the unsupported late date of c.1668-72 Hunter sleeping on a hillside, a joint effort of Landschappenuit de ZeventiendeEeuw held at assigned to Detroit's version of the Jewish the brothers Herman and Cornelis van Dordrecht in 1963 was the first to offer an Cemetery (No.86), or agree that Braun- Saftleven (No.96), would have been at extensive survey of the main phases and schweig's Largeoak (No.82) and the Wallace home in Sutton's memorable 1984 genre aspects of the theme. But working with a Collection's Landscape with a small village exhibition, in which the collaborative Saft- shoestring budget, before the days of spon- (No.P156) include views of Steinfurt Castle leven was indeed included. sorship and government indemnity, Bol or that Boston's lovely small panorama de- The exhibition's six Cuyps are a rare was unable to assemble many parade pieces. picts Egmond Castle near Alkmaar (No.89; treat for Dutch and American viewers. It is Even so, it is largely thanks to his pioneer- Philadelphia's painting of ruins [No.564] no accident that five of these six are in, or ing effort that Hondecouter and a number cited in the entry as another view of the passed through, English collections, which of other landscapists who have yet to become castle certainly depicts Brederode, not by 1825 had a virtual monopoly on his household names are represented. Egmond; the Duke of Sutherland's panor- works. The exhibition's great surprise is Today the slender catalogues of the ama [Hofstede de Groot 1908-27, No.67] Hercules Segers's Mountainouslandscape from Dordrecht and Orangerie exhibitions does not show Alkmaar's Grote Kerk, but the Uffizi, the most imposing of his less would be dismissed as handlists. The cata- a distant view of Heemstede Castle on a than a dozen existing landscape paintings. logue of the present show, on the other hand, plain near Haarlem). And not only students Seen only in Amsterdam, it is horscatalogue, is an up-to-date, compendious reference of Ruisdael will raise their eyebrows when having been in restoration when the show book, which will be consulted repeatedly they read deep in the commentary on his was planned. Cleaning confirms the long- long after the show closes in Philadelphia. Windmill at Wijk (No.88) that the famous held opinion that Rembrandt, using a The lion's share of the biographies and Mill at Washington (Fig.74) has been re- loaded brush over Segers's thinner paint, entries were written by Sutton and Alan moved from Rembrandt's euvre. The increased the height of the mountains and Chong. They and their collaborators' in- attribution of The Mill has indeed been added the waggon, waggoner, horses and formative biographies will be referred to controversial since it was acquired by pedestrian, probably when the landscape as often as those in Neil MacLaren's classic P.A.B. Widener of Philadelphia from the was in his own collection. The supplemen- National Gallery catalogue of The Dutch Lansdowne collection in 1911 for ?100,000, tary catalogue entry cites Stechow's per- School (1960). It is hard to think of higher a loss to England's patrimony that raised ceptive remark that Rembrandt created a praise, although some readers may regret questions in Parliament, caused an ava- 'second state' of the painting, just as he that the Thieme-Becker-like references do lanche of letters to the press and stimulated did with the plate of Segers's etching, Tobias not distinguish major from minor publica- numerous editorials, including two in this and the angel. Reserved for Boston and tions. Abbreviated references that follow Magazine.2 Philadelphia is a single precious imaginary here are those expanded in the catalogue's Although The Mill was omitted from landscape by Segers from Rotterdam colossal Bibliography. Rembrandt's euvre by Bredius, Bauch (Fig.71); it is a work best enjoyed from The entries, generously accompanied by and Gerson, none of them offers reasons very close-up, the way one scrutinises his comparative illustrations, are crammed and, to my knowledge, no one has convin- prints. The recognition now accorded it with detailed information. The commentary cingly demonstrated that the picture is is ironic, for the late D.A. Hoogendijk's on the recently discovered early winter not by Rembrandt. Stechow and Rosen- attempt to sell it to various American landscape, ascribed to Adriaen van de berg continued to defend its traditional at- museums in the 1950s was a miserable Venne when it appeared in 1982 and here tribution, and more recently its ascription failure. convincingly attributed to Vinckboons to Rembrandt has been accepted by Arthur

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Wheelock3 and Cynthia Schneider (1984b). The catalogue's suggestion that The mill is 'probably by Aert de Gelder' (p.462, note 11) - reviving a forgotten attribution first offered by W. von Seidlitz in 1902, and elaborated by him in 1911 after the landscape was acquired by Widener - could not be tested here, since, regrettably the painting was not included in the exhibition. It would have been particularly helpful to examine The mill afresh in Boston, along- side Rembrandt's Rest on theflight (No.78), with which it has much in common despite differences in subject, scale and support. The powerful chiaroscuro effect that made 73. Oaks besidea pool, by Constable describe The mill 'of itself Jacob van Ruisdael. 114 141 cm. sufficient to form an epoch in the art' has by (Gcmaldcgaleric, altered considerably since Washington's Staatliche Museen conservators removed layers of darkened Preussischer varnish about a decade ago, but it retains Kulturbesitz, West other outstanding qualities which would Berlin; exh. Museum have been recognised and enjoyed by the of Fine Arts, Boston). crowds that thronged the exhibition, no matter who painted it. homeland. In their highly and deceptively of Frederick Henry at Nijmegen and Dor- Sutton's catalogue introduction is selective art Salomon and Molijn substituted drecht that celebrate dynastic paternalism, nothing less than a compact history of one kind of subjectivity for another. at a time when it was politically unfash- on Dutch landscape from its origins in early Acknowledging a debt to John Barrell's ionable' (p.81). This is evidently based fifteenth-century Netherlandish painting The Dark Side of the Landscape, Schama Stephen Reiss's mistaken identification of to the late seventeenth-century classicists, calls attention to the subject matter of posthumous portraits of Frederick Henry in relating its trends and tendencies to the Dutch landscape, particularly the figures, at Nijmegen in a Cuyp river scene the social, political and cultural climate of the emphasising that the latter are not mere Duke of Sutherland's collection (Reiss 1975, time. His amply documented survey takes stafage, but have specific cultural associ- p. 142, No. 103) and at Dordrecht in another into account more recent as well as older ations. Images of the countryside, rivers, Cuyp at Waddesdon Manor (ibid., p. 145, literature, a formidable feat since the study towns and villages were often, he concludes, No.106).4 The Sutherland Cuyp is almost of Dutch landscape has become an ever- a kind of history painting, though not in certainly identical with a large painting growing industry since the mid-sixties, the traditional sense, containing historical by Aelbert described in a testament written when Stechow's standard general volume references, without narrative structure. A in Dordrecht in 1673 as '. . . een groote and Albert Blankert's reappraisal of the good example of the insights Schama's schilderijeuutbeeldende een leger ofte rendevou Italianates were published. Sutton manages method offers is his discussion of the sudden van schepenleggende voor Nummegen, gemaeckt to discuss almost every aspect of the multi- popularity of the fishing village motif doorAelbert Cuyp' (Dordrecht 1977-78, p.57). faceted topic - and three are discussed in during the 1620s and 1630s. After the re- The unusually ample description makes more detail by Simon Schama, Josua Bruyn sumption of war with Spain in 1621 Dutch no reference to Frederick Henry. It is hard and Alan Chong. Sutton offers rewarding herring boats, fishing villages and fisher- to imagine that the compiler of a testament sections on studio practice, on van Mander's men suffered devastating losses. The forti- written in 1673, a year after William III pioneer chapter on landscape in Den Grondt tude of Dutch fisherfolk during this time assumed power, would have failed to note and on what can be gleaned from Hoog- was held up in contemporary commen- that William's illustrious grandfather was straeten, Lairesse, contemporary pastoral taries as a model of pious, patriotic conduct, depicted. poetry and hofdichten(the special genre of Schama suggests that the difficult time Bruyn's 'Toward a Scriptural Reading Dutch poetry dedicated to country houses). had produced in the 'collective mentality of Seventeenth-Century Landscape Paint- His account of stylistic development is of the Dutch' an idealised version of fishing ings' is a decorous polemic against virtually admirable, as is his characterisation of the villages, in the light of which such land- all of the interpretations offered by the major figures, and he helpfully discusses scapes were produced. The reference to other contributors to the catalogue. Bruyn Cornelis Vroom, Frans Post, Herman 'collective mentality' - with its overtones maintains that the spoken and written word - of the Bible is the of for the Saftleven and a few other artists hard to of Zeitgeist is, however, troublesome. point departure which fit into stylistic pigeon holes. Given the The force of Schama's argument is not landscapists' images and themes, wealth of material presented by Sutton dissipated if it is acknowledged that con- were intended to bring to the contemporary - that and the two other contributors, the lack temporary beholders who saw modest fish- beholder an unmistakable message is of an index is a serious drawback. ing villages and their inhabitants as man lives in a transient world where he Schama's essay 'Dutch Landscapes: embodiments of patriotism have yet to be beset by sinful temptation but may hope Culture as Foreground' offers an abund- identified. for eternal salvation. Such a moralising at- ance of delicious apergus.But he provided Schama's text is not without some hasty reading of Dutch landscapes was first dissertation much more, stressing the radical break in generalisations. The Marquess of Bute's tempted in Wilfred Wiegand's Ruisdael's form and subject that occurs in landscapes magnificent Cuyp (No.25) of the late 1650s (1971), based on a study of studies have since by Salomon van Ruysdael and Molijn about can hardly serve to typify the 'Rest of the motifs. A few additional 1625-30, and asking why they and their Century' (p.80) when the young Hobbema been devoted to this subject (Kuznetsov contemporaries painted their modest, had just learned to mix his colours and 1973, Kauffmann 1977, Raupp 1980, down-to-earth pictures. Although he does Ruisdael was not to produce his mature Walford 1981), of which Bruyn's essay treat- less than justice to some of his predecessors works for another ten years. There are now offers the most comprehensive Stechow et al. (1966) and Rosenberg, also a few slips: the cannon in van Goyen's ment. He acknowledges that it is premature for example, did not mistakenly view large riverscape at the Fogg which Schama to claim a 'religio-literary interpretation' but he Elsheimer as the prime mover of the shift asks us to read as an image of Dutch for all the landscapists's themes, van - he convincingly argues that the sudden concern with the defence of their com- offers representative examples by transformation is linked less to the 'sudden munities (p.76 and Fig.07) is not to be Goyen, Rembrandt and Ruisdael. Ruisdael's discovery of realism', than to the emerg- found in this painting. Another miss is the Best known in this context are ence of a new aesthetic that took pride statement that on at least two occasions versions of the Jewish Cemeteryat Detroit in its countryside and the virtues of Cuyp 'painted near-contemporary histories (No.86) and Dresden. These are unques-

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range. Compared to the low prices van Goyen's landscapes usually fetched, the fee of fl.650 that he received in 1651 from the city fathers of The Hague for his enor- mous townscape of the city (170 by 438 cm.) was astronomical, but low in the light of prices municipal officials usually paid for portraits of their towns or cities. The almost total absence of works by Hobbema from contemporary inventories is unex- pected. Paintings by Cuyp are evaluated at surprisingly low prices and apparently had little circulation outside his native Dordrecht. The adjunct exhibitions of graphic art shown in Amsterdam and Boston not only 74. Themill, by display another rich and remarkably varied Rembrandt. 87.5 by aspect of Dutch landscape, but also help 105.5 cm. After explain its origins. Since not a single painted restorationcompleted landscape by Goltzius, de Gheyn, Vianen, in 1979. (National Claes Jansz Visscher, or Buytewech has of Gallery Art, been discovered, their seminal contribu- Washington, D.C.). tions can be enjoyed only in their drawings tionably moralising landscapes that allude offering statistical analyses and commen- and prints. to transience and the vanity of life. Though taries, is particularly interesting. On the For the Amsterdam venue Marijn nearly all students see them as exceptional basis of widely scattered published studies, Schapelhouman and Peter Schatborn pictures in Ruisdael's wuvre,Bruyn argues as well as his own archival research, Chong prepared Land & Water, 100 land- that they show the iconographic essence has charted the average prices assigned to scape drawings of the century in the of Ruisdael's work, which he reads as visual paintings during the course of the century Rijksmuseum's Prentenkabinet. Their sermons. by genre (landscape, religious, portraits, beautiful catalogue (every sheet repro- Thus, in Ruisdael's paintings ofBentheim still-life, and so on). His sample is large; duced in colour) is particularly welcome Castle, the dead trees are taken to refer to more than 6,600 paintings were surveyed, since, apart from drawings by Rembrandt the vanitas theme, the forest to represent of which 2,700 were priced. It is not aston- and his followers, not many of the Prenten- the dangerous world through which man ishing to learn, but good to see tabulated, kabinet's holdings of the period have been must move, before he reaches his goal - the that the percentage of attributed land- published. Dutch Landscape on Paper: castle on the high mountain, symbolising scapes (marines and historiated landscapes Rembrandt to Mondrian was arranged by the eternal city of Zion. In Ruisdael's are included in this category) rose during Clifford S. Ackley from Boston's own numerous waterfall paintings the rushing the century (from 25% to 41%) and attri- collection and shown at the Museum torrents refer to transience, the castles and buted religious paintings declined (from (closed 10th April; many of its important churches to eternal salvation. Van Goyen 26% to 14%. Naturally, if the religious prints appear in the masterly catalogue and Rembrandt do not escape similar significance Bruyn assigns to Dutch land- Ackley prepared on the subject for his interpretations (Nos.34 and 76). scape paintings were to be accepted these 1980-81 exhibition). A major inter- It should be stressed that Bruyn's inter- figures would have to be radically revised, national loan exhibition at Harvard's pretations are supported by references to as would Chong's statement, based mainly Arthur M. Sackler Museum: Landscape visual traditions and an impressive array of on unpublished material provided by in Perspective: Drawings by Rembrandtand literary sources going back to St Augustine. Michael Montias, that 'Protestants (Cal- His Contemporaries(closed 3rd April) may He also admits that from van Mander's vinists) owned proportionally twice as be seen at the Montreal Museum of time until the early eighteenth-century many landscapes as Catholics did' (p. 113). Art (15th April to 29th May). Selected moralising texts by Jan Luyken, there are From 1600 to 1700, landscapes were con- and catalogued by FrederickJ. Duparc, it few Dutch literary sources relevant to his sistently a bit lower in price (fl.30-fl.44) is a representative show of more than one readings. Bruyn assumes that the tradition than religious pictures (fl.33-fl.52). hundred drawings, including key works of using landscape images as metaphors Another table, based on a much smaller by artists active during the first decades of for Biblical messages was so well-rooted sample (272 paintings) gives the average the century, rare sheets by Hobbema and that there was hardly a need to articulate price by motif (marines, Italianate land- Aert van der Neer, eight Ruisdaels and it. Even if we grant that this was the case, scapes, winterscapes, waterfalls, and so nine Rembrandts, four of which appeared to maintain that the principal intent of on) from 1625 to 1675. The average price in the recent Chatsworth sales. the landscapists was to paint visual ser- for landscapes with mythological figures SEYMOUR SLIVE mons and that most of their patrons used emerges as higher by 8 stuivers than paint- Harvard University them to direct their thoughts toward their ings done by Italianates (fl.58.22, fl.58.14, 'IMasters of 17th-CenturyDutch Landscape Painting. By salvation strains credulity to the breaking respectively). Marines ranked next (fl.45) Peter C. Sutton with contributions by Albert Blankert, point. Bruyn himself is apparently aware and were followed by waterfalls (fl.36) and Josua Bruyn, C.J. de Bruyn Kops, Alan Chong, Jeroen of the scepticism with which some readers winterscapes (fl.35). Conclusions from this Giltay, Simon Schama and Marjorie Elizabeth + & will receive his interpretation, writing at small survey should be drawn with caution. Wieseman. 564 pp. 123 col. + 450 b. w. ills. the end of his essay 'perhaps it is necessary Yet another chart lists the average prices (Museum of Fine Arts, Boston, 1987), $49.45 HB, ISBN 0-8122-8105-5. $24.95 PB, ISBN 0-87846-282-1. to be something of a puritan in order to for landscapes by more than fifty Dutch be able to admit' such a scale artists active 2THE BURLINGTON MAGAZINE, Vol.XIX [April- large scrip- from 1600 to 1725, also giving and tural to this September 1911], pp.3-4, p.66. reading: both puritans and the years in which the artists' most expens- 3Wheelock leaves the attribution open in his 'De non-puritans may assent. ive works were inventoried or sold. The Geschiedenis en Bekoring van "De Molen,"' De Until a thorough study of the patronage highest prices were consistently awarded Kroniekvan het Rembrandthuis,29 [1977], pp.20-32; his of Dutch landscape appears, Chong's wel- to marine painters, not landscapists (e.g. 'De Restauratie van "De Molen,"' ibid., 31 [1979], come essay on 'The Market for Landscape Hendrick Vroom, fl. 1,800 in 1610; Ludolf pp.9-13, cautiously suggests the landscape is by Painting in Seventeenth-Century Holland' Bakhuizen, fl.1,275 in Ruisdael Rembrandt. He subsequently informed me that he 1665), now endorses the attribution. helps fill the gap. He surveys types of pat- reaching only fl.100 in 1673, and Allart van in 1657. Works 4For the Prince's iconography see M.E. TIETHOFF- ronage (the court, municipalities, private Everdingen fl..150 by SPLIETHOFF: 'De Portretten van Stadhouder Frederik the market and patrons), open artists' Molijn, Salomon van Ruysdael and van van het CentraalBureau voor His section on Hendrik,' Jaarboek Genealogie activities abroad. prices, Goyen were cheap, usually in the fl. 10-20 enhet Iconographisch Bureau, 22 [1978], pp.91-120.

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