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.  Related Paintings of Jacob van Ruisdael :. | Two Watemills and an Open Sluice near Singraven | an extensive landscape with a ruined castle and a village church | The Bush (mk05) | Waterfall by Church | View of Naarden |
Related Artists:
Bruyn, Barthel the Elder
German, 1493-1555
Friedrich von Amerling
Austrian Academic Painter, 1803-1887,Austrian painter. He came from a family of craftsmen and studied (1815-24) at the Akademie der bildenden Kenste, Vienna, where one of his teachers was the conservative history painter Hubert Maurer (1738-1818). From 1824 to 1826 he attended the Academy in Prague, where he was taught by Josef Bergler. In 1827 and 1828 Amerling stayed in London, and he met the portrait painter Sir Thomas Lawrence, whose work was to be a strong influence on Amerling's painting during the next two decades. Amerling also travelled to Paris and Rome but was recalled to Vienna on an official commission to paint a life-size portrait of the emperor Francis I of Austria (Vienna, Ksthist. Mus.). With this work,
Reginald Marsh
American Social Realist Painter, 1898-1954,American painter, printmaker and illustrator. He returned from France to the USA with his American parents, Fred Dana Marsh (1872-1961) and Alice Marsh, who were also artists, in 1900. In 1920 he graduated from Yale University, New Haven, CT, where he had been art editor and cartoonist for the Yale Record. He moved to New York and became staff artist for Vanity Fair and the New York Daily News. By 1923 he had begun painting scenes of street life in New York in oil and watercolour. His first one-man show was held at the Whitney Studio Club in 1924. In 1925 he joined the New Yorker, to which he contributed regularly until 1931.