#dutch landscape painters

[the-cricket-chirps]

Vincent van Gogh, Wheat Fields After the Rain (The Plain of Auvers), 1890

[galleryofart]

Houses at Auvers

Artist: Vincent van Gogh (Dutch, 1853–1890)

Date: 1890

Medium: Oil on canvas

Collection: Museum of Fine Arts, Boston

Description

In May 1890, van Gogh moved from the south of France to Auvers, northwest of Paris, painting many of his finest pictures there in a feverish spurt of activity before his suicide in July. Houses at Auvers shows the landscape of early summer. The view from above creates a flattened tapestry of shapes in which the tiled and thatched roofs of the houses form a mesmerizing patchwork of color.

[artandthebible]

Christ and St Mary Magdalen at the Tomb

Artist: Rembrandt van Rijn (Dutch, 1606-1669)

Date: 1638

Medium: Oil on Panel

Collection: Royal Collection Trust, United Kingdom

Description

Christ and St Mary Magdalene at the Tomb reveals how imaginatively Rembrandt could interpret traditional religious subject-matter. The scriptural source for this scene is the Gospel of St John (20:11-18), who describes in some detail the burial and subsequent resurrection of Christ following the Crucifixion. Mary Magdalene returns to the tomb early the next morning, only to find the stone at the entrance removed and two angels inside it where the body should have been. She then fetches two of the disciples, who check that the tomb is empty and then leave her. The angels then ask Mary Magdalene, ‘Woman, why weepest thou?’ and she replies, ‘Because they have taken away my Lord, and I know not where they have laid him.’ At that moment she turns round and sees a man dressed as a gardener, not appreciating that he is the resurrected Christ. She appeals to him for information, but he calls her by her name and she instantly recognises him. (‘Jesus saith unto her, Mary. She turned herself, and saith unto him, Rabboni; which is to say master.’) Rembrandt has depicted the moment of realisation just before the actual recognition. Most artists chose to paint the next moment in the text, when Mary Magdalene reaches out towards Jesus and he forestalls her with the words ‘Touch me not’ (in Latin, Noli me tangere).

Rembrandt skilfully evokes the dawn as the opalescent light picks out from the darkness the towers of the Temple of Jerusalem, the upper half of the figure of Christ, the face of Mary Magdalene, and the outline of one of the angels in the tomb. This use of light is almost symbolic in both the physical and the spiritual senses. The paint is in general thinly applied and, apart from the treatment of the light and the vegetation around the tomb referring to Christ’s activities as a gardener, could almost be described as monochrome. It is only after a time that the eye focuses on the two female figures (the Gospels of St Mark and St Luke refer to three Maries at the tomb) in the middle distance on the left descending the hill.

Of particular note is the positioning of Christ, who in the relationship established between his partially silhouetted vertical form and the Temple of Jerusalem behind and the rocky cave next to him dominates the composition, whereas the twisting pose of Mary Magdalene is the pivot. The tension created between Christ’s standing figure and the twisting kneeling Mary Magdalene is palpable. The artist’s only other treatment of the subject of Christ and Mary Magdalene is in Brunswick (Herzog Anton Ulrich Museum): it is dated 1651 and is totally different in composition.

[art-portraits]

Two Ladies of the Lake Family

Artist: Sir Peter Lely (Dutch, 1618-1680)

Date: c. 1660

Medium: Oil on canvas

Collection: TATE Britain

Description

This picture is associated with the Lake family, who lived in Cannons house and estate in Middlesex. Portraits of women by Lely, like this one, tend to conform to the standards of ideal beauty which were current at court. The artist was more concerned with asserting a sense of glamour and sophistication than conveying individual personalities. The woman on the left is playing a French-made guitar, the latest fashion to arrive from Paris. Lely was the leading portrait painter of his generation.

[tilbageidanmark]

Albrecht Dürer, Peasant Couple Dancing, 1514

[de-mykel]

Robert Zandvliet. Crack (Moonlight), 2023.

egg tempera and oil on cotton

[art-allegory]

An Allegorical Scene Featuring the Three Graces Aglaia

Artist: Cornelis van Haarlem (Dutch, 1562–1638)

Date: 1622

Medium: Oil on canvas

Collection: Private collection

An allegorical scene featuring the Three Graces, with Aglaia as a central figure, depicting three beautiful, intertwined women representing the ideals of beauty, charm, and grace, where Aglaia, symbolizing "radiance" or "splendor," is positioned prominently, radiating light and elegance, while the other two Graces, Euphrosyne (joy) and Thalia (bloom), complement her with their own expressions of joy and youthfulness, all together forming a harmonious circle of feminine beauty and positivity.

[mythological-art]

Narcissus Gazing at his own Reflection

Artist: Godfried Schalcken (Dutch, 1643–1706)

Date: 1676

Medium: Oil on Canvas

Collection: Private Collection

Description

Ovid relates the myth of Echo, a nymph with a harmonious voice, who was condemned by the goddess Juno to repeat only the last words spoken to her (Metamorphoses 3:339-510). After encountering the hunter Narcissus, Echo falls deeply in love, only to have him reject her advances. Narcissus' hubris did not go unpunished. He was fated to fall in love with his own image after catching a glimpse of his reflection in a pool of water. He spent so long transfixed by his own appearance that he was transformed into the white flower that bears his name.

[lotussed]

Jacob van Ruisdael, Wheat Fields, detail

[thatstudyblrontea]

Moonlit Landscape with a View of the New Amstel River and Castle Kostverloren

Aert van der Neer 1647 Oil on panel

[myteaplace]

Landscape with overthrown statue, 1942,  Carel Willink (1900-1983)

[the-cricket-chirps]

Vincent van Gogh

View of Saintes-Maries

1888

[galleryofart]

Girl Resting

Artist: Jan Adam Kruseman (Dutch, 1804-1862)

Date: 1827

Medium: Oil on Canvas

Collection: Rijksmuseum, Amsterdam, Netherlands

[artandthebible]

Daniel's Vision

Artist: Rembrandt Harmenszoon van Rijn (Dutch, 1606-1669) golden age

Date: 1650

Medium: Oil on canvas

Description

"Daniel's Vision" by Rembrandt Harmenszoon van Rijn is an oil-on-canvas painting created around 1650, based on the biblical passage from Daniel 8:15-19. As with many of Rembrandt's works, this painting showcases his extraordinary talent in capturing emotional depth and human expressions, while also masterfully interpreting a biblical scene.

Daniel's Vision | Daniel 8:15-19 (NIV)

While I, Daniel, was watching the vision and trying to understand it, there before me stood one who looked like a man. And I heard a man’s voice from the Ulai calling, “Gabriel, tell this man the meaning of the vision.”

As he came near the place where I was standing, I was terrified and fell prostrate. “Son of man,” he said to me, “understand that the vision concerns the time of the end.”

While he was speaking to me, I was in a deep sleep, with my face to the ground. Then he touched me and raised me to my feet.

He said: “I am going to tell you what will happen later in the time of wrath, because the vision concerns the appointed time of the end.

[art-portraits]

Portrait of Dina Margareta de Bye

Artist: Willem van Mieris (Dutch, 1662-1747)

Date: 1705

Medium: Oil on panel

Collection: The Leiden Collection, New York City, NY, United States

Description

Standing before an imaginary rocky landscape, a woman handsomely attired in an orange-tinged brown satin dress with an aqua-blue shawl draped across her body smiles charmingly out at the viewer. On the left, behind a partially drawn curtain and in front of a pillar, stands a fountain with a statue of a cupid riding a sea monster. The woman holds an orange in her left hand and carefully selects a red carnation from a bunch of flowers lying on a stone plinth faced with a carved relief sculpture of an unidentified allegorical subject. Resting on this garden plinth is a colored drawing of a flower, a small wooden box, some paintbrushes, and a couple of shells containing pigments.

The identification of the sitter is established by an eighteenth-century inscription written in Dutch on the back of the panel: “Dina Margareta de Bye, born on 7 May 1680 and deceased on 26 August 1740.” Dina Margareta was the second daughter of Johan Paeuw de Bye, a lawyer from Leiden, and his wife, Anna van Oorthoorn. In 1703 Dina Margareta married Pieter van der Dussen (1675–1726), also a lawyer, and moved from Leiden, where she apparently had been living with her parents on the Rapenburg, to her husband’s native city of Dordrecht. As Willem van Mieris already enjoyed a great reputation among the Leiden elite, he was a suitable choice to portray the esteemed Dina Margareta, even after she had moved to Dordrecht.

[royalty-nobility]

Princess Isabella (1676-1681)

Artist: Sir Peter Lely (Dutch, 1618-1680)

Date: c. 1677

Medium: Oil on Canvas

Collection: Royal Collection Trust, United Kingdom

Description

Princess Isabella, born on 28 August 1676, was the second eldest daughter of James, Duke of York (1685-1688) and his second wife, Mary of Modena. This portrait was probably painted in 1677 as it shows the Princess at around the age of one.