Meindert Hobbema

1638-1709 Dutch Meindert Hobbema Galleries In the exercise of his craft Hobbema was patient beyond all conception. It is doubtful whether any one ever so completely mastered as he did the still life of woods and hedges, or mills and pools. Nor can we believe that he obtained this mastery otherwise than by constantly dwelling in the same neighbourhood, say in Guelders or on the Dutch Westphalian border, where day after day he might study the branching and foliage of trees and underwood embowering cottages and mills, under every variety of light, in every shade of transparency, in all changes produced by the seasons. Though his landscapes are severely and moderately toned, generally in an olive key, and often attuned to a puritanical grey or russet, they surprise us, not only by the variety of their leafage, but by the finish of their detail as well as the boldness of their touch. With astonishing subtlety light is shown penetrating cloud, and illuminating, sometimes transiently, sometimes steadily, different portions of the ground, shining through leaves upon other leaves, and multiplying in an endless way the transparency of the picture. If the chance be given him he mirrors all these things in the still pool near a cottage, the reaches of a sluggish river, or the swirl of the stream that feeds a busy mill. The same spot will furnish him with several pictures. One mill gives him repeated opportunities of charming our eye; and this wonderful artist, who is only second to Ruisdael because he had not Ruisdael's versatility and did not extend his study equally to downs and rocky eminences, or torrents and estuaries - this is the man who lived penuriously, died poor, and left no trace in the artistic annals of his country. It has been said that Hobbema did not paint his own figures, but transferred that duty to Adriaen van de Velde, Lingelbach, Barendt Gael, and Abraham Storck. As to this much is conjecture.


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Meindert Hobbema The Avenue at Middlehamis oil


The Avenue at Middlehamis
Painting ID::  40525
The Avenue at Middlehamis
mk156 1689 Oil on canvas 103.5x141cm
mk156 1689 Oil_on_canvas 103.5x141cm
   
   
     

Meindert Hobbema The Avenue at Middelharnis oil


The Avenue at Middelharnis
Painting ID::  43179
The Avenue at Middelharnis
mk170 1689 Oil on canvas 103.5x141cm
mk170 1689 Oil_on_canvas 103.5x141cm
   
   
     

Meindert Hobbema The Ruins of Brederode Castle oil


The Ruins of Brederode Castle
Painting ID::  43180
The Ruins of Brederode Castle
mk170 1671 Oil on canvas 82x106cm
mk170 1671 Oil_on_canvas 82x106cm
   
   
     

Meindert Hobbema The Watermills at Singraven near Denekamp oil


The Watermills at Singraven near Denekamp
Painting ID::  43181
The Watermills at Singraven near Denekamp
mk170 1665-1670 Oil on oak 60x84.5cm
mk170 1665-1670 Oil_on_oak 60x84.5cm
   
   
     

Meindert Hobbema kvarnen oil


kvarnen
Painting ID::  67361
kvarnen
1692 se
1692 se
   
   
     

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     Meindert Hobbema
     1638-1709 Dutch Meindert Hobbema Galleries In the exercise of his craft Hobbema was patient beyond all conception. It is doubtful whether any one ever so completely mastered as he did the still life of woods and hedges, or mills and pools. Nor can we believe that he obtained this mastery otherwise than by constantly dwelling in the same neighbourhood, say in Guelders or on the Dutch Westphalian border, where day after day he might study the branching and foliage of trees and underwood embowering cottages and mills, under every variety of light, in every shade of transparency, in all changes produced by the seasons. Though his landscapes are severely and moderately toned, generally in an olive key, and often attuned to a puritanical grey or russet, they surprise us, not only by the variety of their leafage, but by the finish of their detail as well as the boldness of their touch. With astonishing subtlety light is shown penetrating cloud, and illuminating, sometimes transiently, sometimes steadily, different portions of the ground, shining through leaves upon other leaves, and multiplying in an endless way the transparency of the picture. If the chance be given him he mirrors all these things in the still pool near a cottage, the reaches of a sluggish river, or the swirl of the stream that feeds a busy mill. The same spot will furnish him with several pictures. One mill gives him repeated opportunities of charming our eye; and this wonderful artist, who is only second to Ruisdael because he had not Ruisdael's versatility and did not extend his study equally to downs and rocky eminences, or torrents and estuaries - this is the man who lived penuriously, died poor, and left no trace in the artistic annals of his country. It has been said that Hobbema did not paint his own figures, but transferred that duty to Adriaen van de Velde, Lingelbach, Barendt Gael, and Abraham Storck. As to this much is conjecture.

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