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A richly illustrated celebration of Ruisdael's achievements as the greatest and most versatile of seventeenth-century Dutch landscape painters
If you know the 26 letters of the alphabet and can count to 99 -- or are just learning -- you'll love Tana Hoban's brilliant creation. This innovative concept book is two books in one!
Jacob van Ruisdael is widely acknowledged as one of the great Dutch landscape artists of the 17th century. This major study aims to provide a comprehensive overview of the artist's work and critical reception.
Historians and art historians provide a critique of existing methodologies and an interdisciplinary inquiry into seventeenth-century Dutch art and culture.
In 1644 the young Alkmaar artist Allart van Everdingen (1621-1675) travelled through Norway. It was an inspiring experience that set the course for his career. He went on to make countless paintings, drawings and etchings of rugged landscapes with waterfalls, log cabins and pine trees. These seemingly realistic snapshots of Norwegian scenery prove on closer examination to be artistic constructs, conceived and executed in the workshop. Van Everdingen had created a new genre in Dutch art that sold very well and was picked up by other artists, Jacob van Ruisdael among them. In the nineteenth century, his impressive mountain views became an important inspiration for the Romantics. He also painted dramatic seascapes and river views, Dutch landscapes full of narrative details, scenes of the springs at Spa and illustrations for the Tale of Reynard the Fox. This book is the first to be devoted to Allart van Everdingen's oeuvre in all its surprising scope. Exhibition: Stedelijk Museum Alkmaar, The Netherlands (18.09.2021 - 16.01.2022).
Rembrandt and the Golden Age of Dutch Art celebrates an unprecedented era in the history of art. Drawn from the superb collections of Amsterdam's famed Rijksmuseum, the works of art featured here are a testament to the richness and variety of the paintings, prints, and decorative arts produced in the Netherlands in the 17th century. In a unique approach, Ruud Priem leads the viewer through the highlights of the Golden Age, beginning with the artists themselves and their studios, emerging into busy city streets and the bucolic Dutch countryside, and sampling the variety of 17th-century life and culture. Featured are ninety dazzling works by preeminent Dutch artists--Rembrandt van Rijn, Frans Hals, Jacob van Ruisdael, Pieter de Hooch, and Jan Steen, among them.
Time and Transformation brings together a variety of seventeenth-century Dutch paintings and works on paper in a major examination of themes dealing with the transformative effects of time and circumstance. The Dutch were fascinated with this idea and the variety of motifs used to convey it. Included are images of local landscapes with medieval structures left in ruins in the wake of the Spanish wars, depictions of rustic cottages and farmhouses, Dutch Italianate landscapes with Roman ruins, and representations of accidental ruins caused by flood or fire. Non-architectural imagery, such as vanitas still lifes and depictions of ruined trees encourage broader thinking on the meanings and associations of images of the fragmentary. Among the artists included are Rembrandt, Jacob van Ruisdael, Jan van Goyen, Abraham Bloemaert, Willem Kalf, Gerard Dou, and Bartholomaus Breenberg.
Windmills were ubiquitous in seventeenth-century Holland and they remain the best-known symbol of the Dutch landscape. Jacob van Ruisdael first depicted them as a precocious teenager and continued to represent all types in various settings until his very last years. Water mills, in contrast, were scarce in the new Dutch Republic, found mainly in the eastern provinces, particularly near the border with Germany. Ruisdael discovered them in the early 1650s and was the first artist to make water mills the principal subject of a landscape. His most celebrated painting, Windmill at Wijk bij Duurstede at the Rijksmuseum, and the J. Paul Getty Museum's Two Undershot Water Mills with an Open Sluice are the centerpieces of this overview of the artist's depictions of windmills and water mills. Both depended upon forces of nature for their operation, but their use in the Netherlands and their place in seventeenth-century Dutch art differed considerably. This book examines their role in Holland and introduces readers to the pleasure of studying Ruisdael's images of them, a joy conveyed by the English landscapist John Constable in a letter written to his dearest friend after seeing a Ruisdael painting of a water mill in a London shop: “It haunts my mind and clings to my heart.”