Hi starmorwen,
Here's the information I've collected. I'm glad you liked the answer I
gave for your other question. You'll find this one follows the same
format.
I did a little more searching and was still unable to find any
commentary on Salomon van Ruysdael's, Landscape with Sandy Road, 1628.
I'm going to go ahead and post what I have, but will still update this
with information on Willem II van de Velde (the Younger) if you can
answer my request for clarification about him above.
I hope with all of this info you get an A+ on your exam!
Cheers,
tj-ga
+++++++++
--Jan Van Goyen--
View from the Dordreccht from the Dordtse Kil, 1644
Photo of the painting and commentary available at:
http://www.nga.gov/cgi-bin/pinfo?Object=56333+0+none
"...The Netherlands was a great trading nation that depended on
shipping as a basis for wealth and power. Whether on the open sea or
through the network of rivers and canals that spread across the low
lying land, Dutch ships carried goods for trade and commerce. Cities
and towns grew up along the inland waterways so that transport of
goods by barges and passengers by ferries could be facilitated.
Depictions of such water views were extremely popular in the first
half of the seventeenth century. One of the greatest early landscape
artists, Jan van Goyen was particularly adept at suggesting the
various moods of the land in different seasons of the year or weather
conditions. In this view of Dordrecht, the sky is overcast and the
water calm, the atmosphere carefully created through Van Goyen's
subtle range of ochers and grays.
Figures animate the scene; a fisherman works his traps on the left and
behind him a sailboat takes on more travelers from a smaller transport
boat. Another rowboat in the center foreground has already taken on
passengers from the ferry boat and is transporting them to the harbor
of Dordrecht..."
Commentary on Van Goyen's general style during this period
http://www.getty.edu/art/collections/bio/a263-1.html
"...Until about 1630, Van de Velde's detail, strong spots of color,
and crowded compositions influenced Van Goyen's work; afterward, Van
Goyen simplified his composition, set the horizon very low, loosened
his handling, and let in the light and air. His paintings became
tonal: in these monochrome harmonies of light greens and
yellow-browns, the atmosphere animates the image..."
--Aelbert Cuyp--
Cows and Herdsmen by a River
There are two Cuyp paintings with names similar to this.
A Herdsman with Five Cows by a River, about 1650-5
http://www.nationalgallery.org.uk/cgi-bin/WebObjects.dll/CollectionPublisher.woa/wa/work?workNumber=NG823
"...This painting is a mature work, probably of the mid-1650s, and
shows how a traditional type of composition was transformed by the
artist. The scene is illuminated from the left by the warmth of the
sun which sparkles on the water, highlighting the reflections of the
boats and the cattle..."
The second one is attributed to an imitator of Cuyp's style, although
the actual artist is unknown.
A Herdsman with Seven Cows by a River, probably about 1750-1800
http://www.nationalgallery.org.uk/cgi-bin/WebObjects.dll/CollectionPublisher.woa/wa/work?workNumber=NG2547
Falsely signed lower left of centre: A c'uyp. This may be a copy after
an unknown landscape by Cuyp, or a pastiche imitating his style. Such
pastiches were painted by the 18th-century painter Jacob van Strij
(1756 - 1815), who may be the artist of this picture.
--Simon de Vlieger--
View of a Beach, 1646
This painting is currently in the private collection of Mr. and Mrs.
Edward William Carter.
http://palimpsest.stanford.edu/waac/wn/wn23/wn23-1/wn23-102.html
In my research, I've found that most of the commentaries are offered
by the major museum that holds the painting. The only piece of
commentary available on the web about this painting is an excerpt from
a larger commentary on the Carter collection.
http://www.mit.edu/afs/net/dev/user/tytso/usenet/americast/latimes/misc/7
"..The sky provides an envelop of calm around the scene but myriad
little
figures on the strand provide a regular sideshow of genre anecdotes,
from
an amorous couple to a haggle over the price of fish..."
General commentary on De Vlieger's influence
http://www.getty.edu/art/collections/bio/a374-1.html
"...De Vlieger's influence on Dutch marine painting was decisive. His
early tendency to portray dramatic rocky coasts gave way to placid,
deeply spatial marine vistas, whose firmly structured compositions and
calm seas influenced Jan van de Cappelle. Colors in his late seascapes
became brighter and more blond, possibly in response to Van de
Cappelle's work. Even de Vlieger's few history paintings have marine
settings. His rare landscapes anticipate works by Jacob van Ruisdael
and Meindert Hobbema..."
--Jan van de Cappelle--
Ships in Calm, 1654 (When searching, I found that this painting is
actually called A Calm, 1654)
Biography at:
http://www.bbc.co.uk/paintingtheweather/csv/artist/cappelle.shtml
"...Through his delicate use of grey tones, depiction of grand vessels
sitting calmly on the sea, and strict linear perspective, he became
one of the most successful marine painters of all time. He also
painted winter scenes inspired by Avercamp's works in his own art
collection..."
Additional style information at:
http://www.getty.edu/art/collections/bio/a3528-1.html
"...most of his paintings represent the mouths of wide rivers or quiet
inner harbors, where groups of ships are anchored in glassy waters.
Full cloud formations hang over calm waters that mirror colorful
reflections, often in early morning or evening. Few of Van de
Capelle's works are dated, but his style changed somewhat over time.
His early paintings have a silvery-gray tonality, while his more
colorful paintings were made after 1650..."
Photo of painting and commentary at:
http://www.bbc.co.uk/paintingtheweather/csv/painting/calm.shtml
"...This scene is carefully constructed yet beautifully observed from
nature. Moist sea air is made almost tangible by the subtle blending
of greys. Patches of light break through dark clouds, adding a
luminous quality, while the ships' reflections balance the painting by
adding darker tones to complement the shimmering greys. Van de
Cappelle has arranged his central group of ships to suggest a
limitless horizon - the shapes echo one another as they tail off into
the distance..."
--Salomon van Ruysdael--
Landscape with Sandy Road, 1628
Photo of painting available at:
http://www.nortonsimon.org/collections/browse_artist.asp?name=Salomon+van+Ruysdael&resultnum=2
Commentary on the general style of van Ruysdael
http://www.gramonline.org/exhibitions/permanent/european/travelers.html
"...With his colleagues Jan Van Goyen and Pieter Molyn, he developed
the "tonal" or "Haarlem" style of painting. Here the palette is
subdued, subjects are enhanced by gently glowing atmospheric effects,
and human figures are subordinate to grand landscape elements of
trees, water and sky. The clear, bright sky and dramatic foreground
tree represent an important development in the composition scheme of
17th century Dutch landscape paintings known simply as the "heroic
tree motif."..."
--Pieter Jansz Saenredam (Zaenredam)--
Interior of the Church of St. Odulphus at Assendelft, as seen from the
Choir to the West, 1649
Photo of painting can be seen at:
http://www.rijksmuseum.nl/ariadata/image/SK%5CORG%5CSK-C-217.org.jpg
This appears to be the same painting as:
http://socrates.berkeley.edu/%7Eah172/architectural/odulphuskerk.htm
which goes by the name, "Crossing and Nave of St. Odulphuskerk", 1649
I have been unable to locate a commentary partially because the
Rijksmuseum, Amersterdam holds both of these paintings. Unlike most of
the major museums, they do not provide a commentary each major
painting in their holdings. I was unable to find a commentary by a
different source either.
General commentary on Saenredam
http://www.getty.edu/art/collections/bio/a660-1.html
"...Saenredam's churches are places for contemplation. Unlike his
flamboyant predecessors who evoked the pomp, pageantry, and theatre of
churches--usually Roman Catholic--Saenredam painted the whitewashed
austerity of the Dutch Reformed church. There are no processions, no
clusters of worshippers at shrines. He adopted a very low viewpoint
and a palette restricted to the palest of tones and allowed few people
into his bare interiors. He concentrated on depicting light, color,
and space. Many Dutch artists continued his tradition, but few equaled
his vision..."
More commentary
http://www.artcyclopedia.com/art42day/art0609.shtml
"...He was the first painter to concentrate on accurate depictions of
real buildings rather than the fanciful inventions of the Mannerist
tradition. His pictures were based on painstaking drawings and are
scrupulously accurate and highly finished, but they never seem
pedantic or niggling and are remarkable for their delicacy of color
and airy grace. The Cathedral of St. Bavo (where he is buried) and the
Grote Kerk in Haarlem were favorite subjects, but he also traveled to
other Dutch towns to make drawings, and Utrecht is represented in
several of his paintings..."
--Adriaen van de Velde--
Beach at Schevening, 1670 (I believe the accurate date and title for
this picture is Beach at Scheveningen, 1658)
Photo of painting and commentary at:
http://www.kfki.hu/~arthp/html/v/velde/adriaen/beachsch.html
"...Amongst Adriaen's van der Velde most original pictures are his
rare beach scenes, which capture the lucidity of the moist sea air and
have a freshness and rarely matched plein-air effect. An outstanding
example of the last named is The Beach at Scheveningen of 1658, now at
Kassel..."
--Pieter Jansz Saenredam--
Interior of the Cathedral of St.John at the hertogenbosch, 1646
Photo of painting and commentary at:
http://www.nga.gov/cgi-bin/pinfo?Object=45849+0+none
"...Saenredam's paintings are almost always church interiors in which
the luminous and balanced treatment of the architecture has the
elegance of an abstract design. In this painting Saenredam not only
gives an apparently accurate portrayal of the details of the Cathedral
of Saint John, but creates a unified feeling of spaciousness and
light. The town of 's-Hertogenbosch, near the Dutch-Flemish border,
became part of the United Provinces in 1629, only three years before
Saenredam visited it. Thus the cathedral, unlike other Dutch churches,
still retained the decorations associated with Catholic ceremony,
notably the elaborate black and white baroque altar with its statues
of the Virgin and Child and Saint John, and the memorial tablets to
the Habsburg rulers Philip II and Albert of Austria that hang above
the altar.
Saenredam subtly changed proportions of columns and arches to enhance
our sense of the soaring quality of the architecture. The painting of
the Adoration of the Magi on the high altar had been made for another
church in Utrecht by Abraham Bloemaert. Saenredam had depicted it
because the altarpiece in the cathedral had been removed before
Saenredam visited Utrecht in 1632. In Saenredam's drawing of the apse
one sees that a curtain hung over the altar at that time. Sacnredam's
portrayal of 1646 is thus an imaginative reconstruction of the
church..."
--Ludolf Bakhuizen (Backhuysen/Backhuyzen)--
Ships in Distress off a Rocky Coast, 1667
Photo of painting and commentary can be found at:
http://www.kfki.hu/~arthp/html/b/backhuys/distress.html
"...Backhuysen is the last representative of the great tradition of
Dutch marine painting; eighteenth-century Dutch artists did much less
of consequence in this category than in the others they practised.
Backhuysen was born in Emden, Germany, and came to Amsterdam around
the middle of the century where he remained for the rest of his life.
His high-placed patrons include the burgomasters of Amsterdam, the
Archduke of Tuscany, Czar Peter the Great, and various German princes.
He is best known for his stormy scenes. Houbraken writes that when a
storm threatened he sometime went by boat 'to the mouth of the Sea, in
order to observe the crash of the Seawater under these conditions'.
His Ships in Distress off a Rocky Coast shows the chilling drama he
can bring to the theme. The large cargo ship in the centre is managing
to make way along the perilous coast, while on the right, two vessels
are in even greater danger.
Later his storms become melodramatic, his chiaroscuro effects
exaggerated, and his gigantic waves rather schematic and
glass-like..."
http://www.the-wallace-collection.org.uk/c/w_a/p_w_d/d_f/a/bakhuizen.htm
"He was much influenced by the Willem van de Velde, q.v., after whose
departure for England in 1672 3 he became the leading marine painter
in Amsterdam..." |
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