Hut Among Trees Perpetual Ray of Sunshine

Total Page:16

File Type:pdf, Size:1020Kb

Hut Among Trees Perpetual Ray of Sunshine little of the types and character of seventeenth-cen­ 8. A case in point is The Travelers and The Old Oak (dis­ tury landscape pendants that his assertion cannot be cussed in the entry on The Travelers, 1942.9.31), which are 8 apparently companion pieces, but whose commonality, other totally discounted. than dimensions and date, is essentially that the compositions were both derived from Jacob van Ruisdael. Notes 1. Information found in the draft catalogue of Knoedler References paintings in the Mellon Collection at the National Gallery of 1829-1842 Smith, 6(1835): 149, no. 100; 9 (1842): 724- Art, written c. 1940 by G. H. McCall for Duveen Brothers. 725, no. 18. Other sources also state that the picture was owned by the 1854-1857 Waagen, 2: 202-203. younger Cobbe and that it was owned during the eighteenth 1854 Jervis, 2: 225, 344. century by one of his ancestors, but there is no other specific 1857 Thore (Burger): 291. mention of Charles Cobbe, archbishop of Dublin. 1859 Thore (Burger): 28-44. 2. Holford Collection 1927, 2: ix, produced by the executors 1860 Waagen, 2: 444. of Sir G. L. Holford's estate, says that the Hobbema that had 1861 Blanc, 2: 12. belonged to "Mr." (i.e. R. S.) Holford was sold to help pay his 1864 Scheltema: 214-226. death duties. Holford also owned another painting that came 1865 Thore (Burger): 291. to the National Gallery of Art by way of The Andrew W. 1890b Michel: 18, 50, 52. Mellon Collection, Anthony van Dyck's portrait of Marchesa 1891 Cundall: 56-58, 157. £0/^/(1937.1.49). 1894 Cobbe, 1: 23-24. 3. The painting (Knoedler no. CA 787) was taken in on 1901 "Sale room": 190-197. consignment in February 1935 and sold to the Mellon Trust 1907 Roberts: unpaginated, repro. in December of that year. (Letter from Nancy C. Little, 1907-1927 HdG, 4 (1912): 412-413, no. 171. librarian, M. Knoedler & Co., New York, 12 September 1913 Burroughs: 2-13, repro. 1987, in NGA curatorial files.) 1913 Bode, 3: 21. 4. Smith's 1835 entry for the painting consisted of only a 1927 Holford Collection, 2: ix. brief description, but in his 1842 supplement he described 1938 Broulhiet: 68, 275, 424, no. 347, 373, pi. 581, the work in great detail, and praised it lavishly, saying: "This repro. of signature. brilliant epitome of Nature is justly entitled to the highest 1941 NGA: 97, no. 61. commendations, and is in truth an example of...rare ocur- 1942 NGA: 26, repro. rence " (Smith 1829-1842, 9: 725). The painting was also 1949 Mellon: 98, repro. clearly greatly appreciated by its owners, to judge by a 1959 Stechow.' 3-18, fig. 13. fascinating account of the circumstances of its sale by Charles 1960 MacLaren: 170. Cobbe in 1839, published by his daughter Frances Power 1965 NGA: 67, no. 61. Cobbe in 1894. She wrote as follows: 1966 Stechow: 77, fig. 151. Though often hard pressed to carry out with a very mod­ 1966 Cairns and Walker, 1: 248, repro. erate income all his projects of improvements, he was 1968 NGA: 59, repro. never in debt. One by one he rebuilt or re-roofed almost 1975 NGA: 174-175, repro. every cottage on his estate, making what had been little 1976 Walker: 295, no. 397, color repro. better than pig-styes, fit for human habitation; and when 1985 NGA: 202, repro. he found that his annual rents could never suffice to do all 1986 Sutton: 305-306. that was required in this way for his tenants in his moun­ 1987 Sutton: 349, note 2. tain property, he induced my eldest brother, then just of age, to join with him in selling two of the pictures which were the heirlooms of the family and the pride of the house, a Gaspar Poussin and a Hobbema, which last now 1942.9.30 (626) adorns the walls of Dorchester House. I remember as a child seeing the tears in his eyes as this beautiful painting was taken out of the room in which it had been like a Hut among Trees perpetual ray of sunshine. But the sacrifice was com­ pleted, and eighty good stone and slate "Hobbema Cot­ c. 1664 tages," as we called them, soon rose all over Glenasmoil. Oil on canvas, 96.5 x 108 (38 x 42 V2) Be it noted by those who deny every merit in an Anglo- Widener Collection Irish landlord, that not a farthing was added to the rent of the tenants who profited by this real act of self-denial. Inscriptions (Cobbe 1894, 1: 23-24.) At lower left: M Hobbema 5. Waagen 1854-1857, 2: 203. 6. Stechow 1959, 9, 15. Technical Notes: The support, a medium-weight, plain- 7. Gregory Rubinstein has pointed out verbally that it is weave fabric, has been double lined with the tacking margins nonetheless possible that both paintings could have been trimmed. Diagonal trowel marks from the application of the together in Ireland in the early 1830s. Littleton was appointed white ground are visible in the x-radiograph. chief secretary to the lord lieutenant of Ireland in 1833, and Paint is applied fluidly with vigorous brushmarking and must therefore have spent a considerable amount of time refined with transparent glazes.1 After an initial freely paint­ there during this period. ed sketch, more detailed layers were applied. Infrared reflec- I2 0 DUTCH PAINTINGS Meindert Hobbema, Hut among Trees, 1942.9.30 MEINDERT HOBBEMA 121 tography shows tree trunks and branches blocked out first, ability to suggest the varied light conditions of a then dense foliage applied, followed by individual outer partly cloudy day invariably transmit the feeling of leaves. Scattered small losses are found overall. The figures a scene painted directly from life. and horse were severely damaged at a later date by an appar­ ently intentional attempt to remove them. Three different versions of this composition exist, 4 The painting was treated in 1964 when a lining was added none of them dated. Slight differences in the shape and losses were retouched. Discolored varnish and some and position of the houses and in the treatment of repaints, including staff age figures, were removed when the light suggest that the Washington painting is the painting was cleaned in 1983-1985. At that time remains of earliest of the four. It is the only instance in which the woman and child, which were found underneath the overpaint, were reconstructed. the house on the right is so dilapidated, with large portions of its thatched roof missing. In all the other Provenance: H. Hammersley [Hamersley]; (sale, Rainy, versions the house is less oblique and lacks the small London, 1841);2 Charles J. Nieuwenhuys [1799-1883], Brus­ addition on the side. In these paintings the path sels and London. Lord William Bingham Baring, 2nd Baron swings slightly to the left and a large broken tree Ashburton [d. 1864], Grange Park, Hampshire, by 1854;3 by inheritance to Francis Baring, 3rd Baron Ashburton [d. trunk in the lower left arches upward, whereas in 1868], Grange Park; by inheritance to Alexander Hugh Bar­ Hut among Trees the path continues diagonally to the ing, 4th Baron Ashburton [d. 1880], Grange Park; by inheri­ right and the tree trunk is less substantial. tance to Francis Denzil Edward Baring, 5th Baron Ashbur­ Because Hobbema's compositions tended to be­ ton, Grange Park; (jointly purchased in 1907 by Thomas come more open during the course of the 1660s, the Agnew & Sons, Davis, Arthur J. Sulley & Co., and Charles Wertheimer, London); sold 1009 by (Arthur J. Sulley) to comparatively dense band of trees that stretches Peter A. B. Widener, Lynnewood Hall, Elkins Park, Penn­ across the middle ground in this work suggests that sylvania; inheritance from Estate of Peter A. B. Widener by it is the earliest in this sequence of related scenes. In gift through power of appointment of Joseph E. Widener, the version now in the Mauritshuis (fig. 1), the Elkins Park. trunks are comparatively thinner and the view into Exhibited: Exhibition of Works by the Old Masters (Winter Exhi­ the distance is less obscured than in the Washington 5 bition), Royal Academy of Arts, London, 1890, no. 85. example. Since Hut among Trees is slightly more open than A Wooded Landscape (1937.1.61), which is signed and dated 1663, and less so than A View on a HOBBEMA was a master of rearranging frequently High Road(1937.1.62), signed and dated 1665, one can used compositional elements in his paintings. One ascribe to it a tentative date of about 1664. To help encounters time and again familiar vistas, houses, confirm this date, a similar comparison may also be groupings of trees, and figures who wander along made between the structure of the trees in these meandering paths that pass through wooded land­ three works. Those in this painting are less compact scapes. He built his scenes along established com­ and dense than the ones in A Wooded Landscape, but positional principles, which included leading the more so than those in A View on a High Road. This viewer gently into the distance, either along paths or approximate date is also consistent with the distinc­ by means of alternating zones of light and dark. tive light gray green color of the trees that Hobbema Remarkably, though, Hobbema's delicate touch and used in 1663 and 1664. The painting is in excellent condition, except for the figure group. In 1984, it was discovered during Fig. 1. Meindert Hobbema, Huts under Trees•, c.
Recommended publications
  • American Art Museum Resources
    Teachers ART RESOURCES The ART OF ROMARE BEARDEN Teacher Packets include a printed booklet with in-depth back- ground information, suggestions for student activities, supple- mental image CDs , and often with color study prints, timelines, and bibliographies. AN EYE FOR ART Focusing on Great Artists and Their Work Teaching Packet SK 651 This family-oriented resource brings together in one lively, activity-packed book a selection of forty art features from the National Gallery of Art’s popular quarterly NGAKids. Each feature introduces an artist and several works from the Gallery’s collections and is paired with activities to inspire crea- tive writing, focused looking, and artistic development in children ages 7 and up. Seven child- friendly chapters ranging from studying nature to breaking traditions are populated with a wide spectrum of artists, art mediums, nationalities, and time periods. This is an attractive gathering of art and information from the nation’s collection that lends itself to family enjoyment, classroom in- struction and homeschooling for the young. Artist include: Giuseppe, Romare Bearden, Osias Beert the Elder, George Bellows, Alexander Calder, Canaletto, Mary Cassatt, Chuck Close, John Constable, Jasper Francis Cropsey, Edgar Degas, Andre Derain, Dan Flavin, Angelico Fra, Filippo Lippi Fra, Paul Gauguin, Vincent Van Gogh and many more. Includes (20) paintings. SK 652 Art & Origin Myths, Heroes * Heroines, Ecology, and 19th Century America Four lessons—Greco-Roman Origin Myths, Heroes & Heroines, Art & Ecology, and 19th-Century America in Art & Literature—are tied to national curriculum standards. The packet includes pre- lesson activities, worksheets, student handouts about works of art and maps, and assessment and follow-up activities.
    [Show full text]
  • Dutch Art, 17Th Century
    Dutch Art, 17th century The Dutch Golden Age was a period in the history of the Netherlands, roughly spanning the 17th century, in which Dutch trade, science, military, and art were among the most acclaimed in the world. The first section is characterized by the Thirty Years' War, which ended in 1648. The Golden Age continued in peacetime during the Dutch Republic until the end of the century. The transition by the Netherlands to the foremost maritime and economic power in the world has been called the "Dutch Miracle" by historian K. W. Swart. Adriaen van Ostade (1610 – 1685) was a Dutch Golden Age painter of genre works. He and his brother were pupils of Frans Hals and like him, spent most of their lives in Haarlem. A01 The Painter in his Workshop 1633 A02 Resting Travelers 1671 David Teniers the Younger (1610 – 1690) was a Flemish painter, printmaker, draughtsman, miniaturist painter, staffage painter, copyist and art curator. He was an extremely versatile artist known for his prolific output. He was an innovator in a wide range of genres such as history, genre, landscape, portrait and still life. He is now best remembered as the leading Flemish genre painter of his day. Teniers is particularly known for developing the peasant genre, the tavern scene, pictures of collections and scenes with alchemists and physicians. A03 Peasant Wedding 1650 A04 Archduke Leopold Wilhelm in his gallery in Brussels Gerrit Dou (1613 – 1675), also known as Gerard and Douw or Dow, was a Dutch Golden Age painter, whose small, highly polished paintings are typical of the Leiden fijnschilders.
    [Show full text]
  • Indianapolis Museum of Art, Inc., Creating a Suitable and Energy
    DIVISION OF PRESERVATION AND ACCESS Narrative Section of a Successful Application The attached document contains the grant narrative of a previously funded grant application. It is not intended to serve as a model, but to give you a sense of how a successful application may be crafted. Every successful application is different, and each applicant is urged to prepare a proposal that reflects its unique project and aspirations. Prospective applicants should consult the NEH Division of Preservation and Access application guidelines at http://www.neh.gov/divisions/preservation for instructions. Applicants are also strongly encouraged to consult with the NEH Division of Preservation and Access staff well before a grant deadline. Note: The attachment only contains the grant narrative, not the entire funded application. In addition, certain portions may have been redacted to protect the privacy interests of an individual and/or to protect confidential commercial and financial information and/or to protect copyrighted materials. Project Title: Creating a Suitable and Energy-Efficient Lighting Environment for the Preventive Conservation of the Permanent Collection Institution: Indianapolis Museum of Art, Inc. Project Director: Kathryn Haigh Grant Program: Sustaining Cultural Heritage Collections Indianapolis Museum of Art Creating a Suitable and Energy-Efficient Lighting Environment for the Preventive Conservation of the Permanent Collection Creating a Suitable and Energy-Efficient Lighting Environment for the Preventive Conservation of the Permanent Collection An Implementation Project 1. Project Description and Significance The Indianapolis Museum of Art (IMA) seeks a Sustaining Cultural Heritage Collections Implementation Grant of $211,847 as part of a $423,694 project to enhance the preservation of the collection and reduce collection-related energy use and costs by converting to LED lamps for lighting the permanent collection in the galleries and in collection storage.
    [Show full text]
  • Jan Steen: the Drawing Lesson
    Jan Steen THE DRAWING LESSON Jan Steen THE DRAWING LESSON John Walsh GETTY MUSEUM STUDIES ON ART Los ANGELES For my teacher Julius S. Held in gratitude Christopher Hudson, Publisher Cover: Mark Greenberg, Managing Editor Jan Steen (Dutch, 1626-1679). The Drawing Lesson, circa 1665 (detail). Oil on panel, Mollie Holtman, Editor 49.3 x 41 cm. (i93/s x i6î/4 in.). Los Angeles, Stacy Miyagawa, Production Coordinator J. Paul Getty Museum (83.PB.388). Jeffrey Cohen, Designer Lou Meluso, Photographer Frontispiece: Jan Steen. Self-Portrait, circa 1665. © 1996 The J. Paul Getty Museum Oil on canvas, 73 x 62 cm (283/4 x 243/ in.). 17985 Pacific Coast Highway 8 Amsterdam, Rijksmuseum (sK-A-383). Malibu, California 90265-5799 All works of art are reproduced (and photographs Mailing address: provided) courtesy of the owners unless other- P.O. BOX 2112 wise indicated. Santa Monica, California 90407-2112 Typography by G & S Typesetting, Inc., Library of Congress Austin, Texas Cataloging-in-Publication Data Printed by Typecraft, Inc., Pasadena, California Walsh, John, 1937- Bound by Roswell Bookbinding, Phoenix, Jan Steen : the Drawing lesson / John Walsh, Arizona p. cm.—(Getty Museum studies on art) Includes bibliographic references. ISBN 0-89326-392-4 1. Steen, Jan, 1626-1679 Drawing lesson. 2. Steen, Jan, 1626-1679—Criticism and interpretation. I. Title. II. Series. ND653.S8A64 1996 759.9492—dc20 96-3913 CIP CONTENTS Introduction i A Familiar Face 5 Picturing the Workshop 27 The Training of a Painter 43 Another Look Around 61 Notes on the Literature 78 Acknowledgments 88 Final page folds out, providing a reference color plate of The Drawing Lesson INTRODUCTION In a spacious vaulted room a painter leans over to correct a drawing by one of his two pupils, a young boy and a beautifully dressed girl, who look on [FIGURE i and FOLDOUT].
    [Show full text]
  • Salomon Van Ruysdael Masterpiece and Renowned Wolfgang Ratjen Collection Are Among Late 2007 Acquisitions by National Gallery of Art
    Office of Press and Public Information Fourth Street and Constitution Av enue NW Washington, DC Phone: 202-842-6353 Fax: 202-789-3044 www.nga.gov/press Release Date: January 18, 2008 Salomon Van Ruysdael Masterpiece and Renowned Wolfgang Ratjen Collection are Among Late 2007 Acquisitions by National Gallery of Art Salomon van Ruysdael (1600/03–1670) Ferry on a River, 1649 oil on canv as National Gallery of Art, Washington Patrons' Permanent Fund and the Lee and Juliet Folger Fund. This acquisition was made possible through the generosity of the f amily of Jacques Goudstikker, in his memory . Washington, DC—A landmark of Dutch landscapes, Ferry on a River (1649) by Salomon van Ruysdael (1603–1670), and one of the finest private European holdings of old master drawings—the Wolfgang Ratjen collection of 185 Italian and German drawings—were acquired by the National Gallery of Art in late 2007. Salomon van Ruysdael’s masterpiece will go on view in the West Building Dutch galleries on January 18, 2008. The Gallery plans an exhibition of the Ratjen Collection accompanied by a complete scholarly catalogue, within the next two years. Until then, works may be viewed by appointment by calling (202) 842-6380. “We are extremely pleased to add these important works to our collection,” said Earl A. Powell III, director, National Gallery of Art. “Ferry on a River sets a standard in landscape painting and becomes our first Salomon van Ruysdael. The Ratjen Collection is a monument to a sophisticated connoisseur’s exquisite taste and his intense desire to continually refine his holdings.” Van Ruysdael’s Masterpiece Salomon van Ruysdael, one of the leading landscape painters of his generation, was renowned for the atmospheric effects he created in his images of life along peaceful Dutch waterways.
    [Show full text]
  • Pastoral Landscape with Sheep and Peasants Oil on Panel 20.3 X 16.5 Cm (8 X 6½ In)
    Adriaen van de Velde (Amsterdam 1636 - Amsterdam 1672) Pastoral Landscape with Sheep and Peasants oil on panel 20.3 x 16.5 cm (8 x 6½ in) This sunlit pastoral landscape showcases Adriaen van de Velde’s intense skill, one which he demonstrated throughout his career, for depicting animals. In his Pastoral Landscape with Sheep and Peasants, van de Velde focuses on the two sheep which dominate the foreground of this narrow composition. They face in opposite directions, with one standing, whilst the other settles placidly on its haunches. By employing contrasting poses, van de Velde provides a more rounded and complete study of the animals. One of the sheep stares out directly at the viewer, further focusing attention on the pair. Beyond, outside a small thatched hut, two peasants sit chatting in the sunshine, while a third sheep, fully shorn, grazes nearby. From the expanse of blue sky, animated by the gentle billowing of soft white clouds, falls a shaft of light, suffusing the sheep in a warm golden glow. This warmth reflects the influence of Dutch Italianate painters, such as Nicholaes Berchem (1620-1683) and Jan Asselijn (after 1610-1652) although there is no evidence to suggest that van de Velde himself visited Italy. When the present work was in the collection of the Earl of Plymouth, it is recorded as being part of a pair. The second work shows a sheep with two lambs, as well as a cow, and so again the focus is not only on an 125 Kensington Church Street, London W8 7LP United Kingdom www.sphinxfineart.com Telephone +44(0)20 7313 8040 Fax: +44 (0)20 7229 3259 VAT registration no 926342623 Registered in England no 06308827 accurate depiction, but a varied one.¹ This second work is signed and dated, and therefore we can date Pastoral Landscape with Sheep and Peasants to 1661.
    [Show full text]
  • Thesis | December 2013
    Master Thesis | December 2013 a Peasant Quest A search for identification, characterization, and contextualization of late seventeenth-century Dutch Peasant Genre Painting (1670-1700) Teun (A.P.M.) Bonenkamp | 3036731 Research Master | Art History of the Low Countries in its European Context Utrecht University | The Netherlands Supervisor | prof. dr. P.A. Hecht Table of contents Introduction ....................................................................................................................................................... 3 Defining the subject ...................................................................................................................................................... 4 Structure ........................................................................................................................................................................... 6 Chapter 1 | Peasant genre painting 1600-1670 .................................................................................... 8 Adriaen Brouwer (1605/06-1638) ....................................................................................................................... 9 Adriaen van Ostade (1610-1685) ........................................................................................................................ 11 In Van Ostade’s footsteps ........................................................................................................................................ 13 Conclusion ....................................................................................................................................................................
    [Show full text]
  • Het Verlies Van De Hobbema Van Steengracht Uit Het Nederlands Openbaar Kunstbezit En De Vervreemdingsregeling Van De Nieuwe Erfgoedwet
    Het verlies van de Hobbema van Steengracht uit het Nederlands openbaar kunstbezit en de vervreemdingsregeling van de nieuwe Erfgoedwet Universiteit Utrecht - Bachelor scriptie 2016/2017 Student - Lisanne Bedaux (3977730) Begeleider - Prof. Dr. Sven Dupré Afbeelding 1 Meindert Hobbema (1638-1709) Landschap met twee watermolens (Hobbema van Steengracht) ca. 1670. Olieverf op doek, 90,1 x 128,3 cm. Ottawa, National Gallery of Canada Inhoudsopgave Samenvatting………………………………………………………………………………………………………..p. 3 Inleiding…………………………………………………………………………………………………………….....p. 4 Hoofdstuk 1 – De aankoop en schenking van de Hobbema van Steengracht…………..…..p. 8 Aankopen door de Vereniging Rembrandt uit de collectie Steengracht…………………………………...p. 8 De schenking van de Hobbema van Steengracht aan Canada…………………………………………………..p. 9 Hoofdstuk 2- Hobbema, canonvorming en de kunsthistorische waardering voor de Hobbema van Steengracht binnen zijn oeuvre………………………………………………………..p. 12 Canonvorming……………………………………………………………………………………………….p. 12 Waardering binnen het oeuvre…………………………………………………………………………...p. 13 Hoofdstuk 3 – Een nieuwe Erfgoedwet…………………………………………………………………p. 15 Definitie van cultureel erfgoed……………………………………………………………………………p. 15 Belangrijkste uitgangspunten en hoofdpunten van het wetsvoorstel……………………………..p. 15 De vervreemdingsregeling toen en nu…………………………………………………………………..p. 16 Hoofdstuk 4 – Kunsthistorische argumenten en de juridische werkelijkheid………….p. 20 Wettelijke grondslag………………………………………………………………………………………..p. 20 Advies bij vervreemding…………………………………………………………………………………...p.
    [Show full text]
  • Meetings with Unremarkable Trees | the Photography of Paul Hart By
    PAUL HART ___________________________________________________________________________________________________ MEETINGS WITH UNREMARKABLE TREES The Photography of Paul Hart Gerry Badger “A culture is no better than its trees.” W.H. Auden “A fool sees no the same tree that a wise man sees.” William Blake. There is a school of critical thought which says that photographing rocks or trees in their natural state – the ‘unspoiled’ landscape in other words – is somehow irrelevant. Or even false or deceitful, for we all know that our natural environment is far from unspoilt. This school of thought proposes that, with the primary subject of photography deemed to be modern life, the only valid form of landscape photography is to draw attention to that ruination. It is quite probably a reflection of this selfsame attitude that has seen the reputation of Ansel Adams – the critical rather than the popular reputation, I should add – decline in recent years. The fact, however, that whilst suffering a critical decline, the work of Ansel Adams remains high in the public’s estimation and affection, might tell us something about what many people want from landscape art. The other great American landscape photographer bearing the Adams surname – Robert – certainly has the respect of those commentators espousing a political approach to the genre of landscape photography, but Robert Adams has other ambitions for the medium besides the overtly political. No matter how degraded the landscape he photographs, no matter the anger with which he photographs it, Robert Adams’ images always find the potential for redemption. He is acutely aware of art’s consoling mission, and what he firmly believes is the obligation of the artist to find, or create beauty, wherever he or she can.
    [Show full text]
  • A View on a High Road MEINDERT HOBBEMA
    Notes at the bottom and sides. A thin, reddish brown ground layer 1. Pigment analysis reports are available in the Scientific is covered by a pale brown imprimatura, which has been Research department (4 April 1984, 3 May 1984, and 16 incorporated as a mid-tone in the sky and foreground. August 1984). The design was sketched in thin dark paint, then painted 2. Cited in Smith 1829-1842, 9: 729; HdG 1907-1927, in thinly applied pastes. The sky was painted first with 4:433. Lugt 1938, however, lists no "Hammersley" or "Ham- reserves left for the houses and trees. The foreground figures ersley" sales and only one 1841 sale conducted by Rainy, on were painted over the completed landscape. The gabled 21 August 1841, the property of Skammers. house at far right was made smaller, and the tree to the right 3. Jervis 1854, 344. Not listed in Waagen 1838b or of the pathway was shifted slightly. Waagen 1854-1857. Thin bands of loss occur along fold lines and around 4. The location of one of these is not known (HdG tacking holes. The paint, with the exception of some thin­ 1907-1927, 4: 410, no. 114; Broulhiet 1938, 209; formerly ness in the sky, is in excellent condition. The painting is Robarts Collection, England). The other two are in London currently in restoration, and the accompanying color plate (National Gallery, inv. no. 995; Smith 1829-1842, 6: 133, no. was taken with the painting in stripped condition. 63; HdG 1907-1927,4:427, no. 162; Broulhiet 1938, 269) and The Hague (Mauritshuis, inv.
    [Show full text]
  • Pictures in the Collection of P.A.B. Widener at Lynnewood Hall, Elkins Park, Pennsylvania. Early German, Dutch & Flemish
    .-.y.\ : int tne of > ^ Lynnew(Xid Hafl, Eiuns Part^'J^ft ..r5n^- '- ./-r. -»R*;-;i--j^ •*’ ' '1 - • •• t* *• • - ' >- . mi c >--d^ ' - .-.-^ ** * -^V - r't^ky *'. EaAy German- • ' 4^1^ "" G . : S Dutch & = Flemish ^ Schools it -. - - : » fi' . ••' '. *•••'•>. • r '. Hi ' 'V T — ' "’ *• ^ • • * . j V , - -V ' - ^-— - . > " ,"~;r •. .. r'i- t,,. le ' ’ - • ^. ;|ss- - .V , I*' >•» , With an IntroducfHon by Wilhelm R- Valcntiner, and Biograph- "Ap- i> ical and Descripcive Notes by C. Hofstede dc Gr<^t and r. Wilhelm R.Valeminct. Philadelphia: Privately Printed, 1913 - - -i.. .... ^ * K V-. s ^ ‘ii- a? . -i Pidures in the Colledion of P. A. B. Widener at Lynnewood Hall, Elkins Park, Pennsylvania Early German Dutch & Flemish Schools With an Introduction by Wilhelm R. Valentiner, and Biograph- ical and Descriptive Notes by C. Hofstede de Groot and Wilhelm R. Valentiner. Philadelphia: Privately Printed, 1913 FOR TWO HUNDRED COPIES HAVE BEEN PRINTED PRIVATE CIRCULATION ONLY No. Ns 9^ 9^0 c,\ 1 CONTENTS INTRODUCTION I EARLY FRENCH, GERMAN AND FLEMISH MASTERS 1 Hans Maler zu Schwaz 3 Franfois Clouet (attributed to) 2 Gerard David 4 Corneille de Lyon II DUTCH MASTERS OF THE SEVENTEENTH CENTURY 21 5 Nicolaes Berchem Meindert Hobbema 6 Abraham van Beyeren 22 Pieter de Hooch 7 Esaias Boursse 23 Pieter de Hooch 8 Quirin van Brekelenkam 24 Karel du Jardin Kalf 9 Jan van de Cappelle 25 Willem lO Aelbert Cuyp 26 Nicolaes Maes 1 Aelbert Cuyp 27 Michel Jansz Mierevelt 12 Aelbert Cuyp 28 Adriaen van Ostade 13 Frans Hals 29 Isack van Ostade H Frans Hals 30
    [Show full text]
  • Wooded Landscape with Figures C
    National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Dutch Paintings of the Seventeenth Century Meindert Hobbema Dutch, 1638 - 1709 Wooded Landscape with Figures c. 1658 oil on panel overall: 53.34 × 67.31 cm (21 × 26 1/2 in.) framed: 78.11 × 93.35 × 8.89 cm (30 3/4 × 36 3/4 × 3 1/2 in.) Inscription: lower right, MH in monogram: MHobbema Corcoran Collection (William A. Clark Collection) 2015.143.13 ENTRY In this quiet landscape scene, two men converse as they amble along a rutted road atop a low-lying dike that separates a verdant forest from the drainage canal at the edge of a Dutch polder. The substantial buildings, churches, and towers that rise dimly along the horizon may represent Amsterdam, Meindert Hobbema’s native city, but they are so distant that they barely intrude on the painting’s overriding sense of nature. [1] The pale bluish-green tonality of the foliage is that of late spring, when the trees have filled out but their leaves have not yet reached full maturity. Soft pools of light suggest the freshness of the air as clouds gently flow across the Dutch sky. The light and delicate quality of this work is characteristic of paintings executed by Hobbema in the late 1650s. Wolfgang Stechow was the first scholar to group this painting with other early works by the artist, including A River Scene (1658, Detroit Institute of Arts), largely because of the distinctive character of Hobbema’s signature at the beginning of his career: MHobbema (with the M and H joined).
    [Show full text]