Buy a reproduction of Landscape with an old oak, Adriaen van Ostade, c. 1639 - c. 1641

Artwork Description

This picture is one of only half a dozen landscapes by Adriaen van Ostade, four of which bear dates ranging from 1639 to 1645.4 It is tempting to see his brief foray into this genre in the light of a suit brought against him on 30 March 1640 by Salomon van Ruysdael for a claim of 14 guilders for ‘board and painting fees’.5 It is not known whether Adriaen van Ostade, who had already been working independently for some time, or his younger brother Isack had been rooming with Van Ruysdael and receiving lessons from him, and thus incurring the debt.6 However, that this contact with one of the foremost landscape artist in Haarlem had something to do with Adriaen’s sudden interest in this subject matter seems a distinct possibility. Probably inspired by the dunes around Haarlem, the Rijksmuseum scene is built up according to a formula already in use since the early 1630s by Dutch landscapists like Esaias van de Velde, Jan van Goyen, Salomon van Ruysdael and Pieter de Molijn: a dark, raised foreground, followed by a light middle ground and a dark, summarily executed background.7 Staffage plays a very minor role in Van Ostade’s painting. Only after close inspection can a man be made out seated on the far left, with a shepherd and his flock approaching the stone bridge in the middle ground. It has been argued that this structure was derived from Rembrandt’s 1638 Landscape with the Good Samaritan.8 It has also been suggested that Van Ostade’s elevation of a gnarly oak to principal motif was inspired by Rembrandt’s example,9 although the slanting tree with its dead branches closely resembles those in Van Goyen’s oeuvre, where they are also often the central focus of the composition.10 On the other hand, one can readily imagine that Rembrandt’s 1638 picture and his Landscape with Stone Bridge in the Rijksmuseum,11 inspired the stormy sky and dramatic chiaroscuro in Van Ostade’s scene. The palette of golden yellow, brown and ochre, however, is closer to that employed by Van Ruysdael and the other Haarlem tonal painters than to Rembrandt’s, whose remarkable pinks, oranges and blue-greys are not to be found in this work.12 The painting does not bear the year of execution. The dendrochronology indicates that the panel was probably ready for use in or after 1635.13 The monochrome palette suggests that the picture was made in or slightly after 1639. The two landscapes by Van Ostade that are dated 1639 are also tonal works, whereas he admitted colour into those from 1644 and 1645.14 The composition of the present scene is also very similar to one of 1641 by Isack van Ostade in Basel.15 Jonathan Bikker, 2022 See Key to abbreviations, Rijksmuseum painting catalogues and Acknowledgements

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Artist Biography

Adriaen van Ostade: A Life in Dutch Genre Painting

Early Life and Training

Born: 1610 in Haarlem, Netherlands.
Van Ostade came from a family of artists; his father, Jan van Ostade, was a tapestry weaver. This artistic environment likely fostered his early interest in visual arts.
Initial Training: He and his brother, Isaack Jansz van Ostade, were initially pupils of Frans Hals, a celebrated Dutch Golden Age painter known for his lively portraits and genre scenes.
However, their time with Hals was relatively brief. They soon diverged from Hals’s style, developing their own distinct approaches to painting.

Artistic Development and Style

Early Works (1630s): Van Ostade's early paintings often imitated Hals’s loose brushwork, but he gradually refined his technique.

He began to focus on genre scenes – depictions of everyday life, particularly those involving peasants and working-class individuals.

Distinctive Style: His style is characterized by meticulous detail, a subtle use of light and shadow (chiaroscuro), and an emphasis on realistic portrayals of his subjects.

He skillfully captured the textures of clothing, objects, and environments, creating a sense of authenticity in his work.

Subject Matter: Common themes included tavern scenes, village fairs, peasant interiors, and depictions of rural life.

Major Works and Achievements

Saying Grace (c. 1660): This painting, housed at the Cleveland Museum of Art, is considered one of his masterpieces. It exemplifies his ability to imbue even humble subjects with dignity and poetic beauty.

A Laughing Peasant (1634): A small but captivating work in the Kremer Collection, Amsterdam, showcasing his skill in capturing expressive faces and gestures.

Tavern Scenes: Van Ostade produced numerous tavern scenes, offering glimpses into the social lives of 17th-century Dutch people. These paintings often depict lively gatherings with drinking, smoking, and music.

Landscape Paintings: While primarily known for his genre works, he also created landscapes, often featuring rustic settings and figures engaged in everyday activities.

Influences and Legacy

Frans Hals’s Influence: His initial training under Frans Hals provided a foundation in Dutch painting techniques and genre subject matter.

Comparison with David Teniers the Younger: Art historians often compare Van Ostade's work to that of David Teniers the Younger, another prominent genre painter. However, their paintings reflect different regional characteristics – Van Ostade focused on Holland, while Teniers depicted Brabant.

Impact on Later Artists: Van Ostade’s emphasis on naturalism and everyday life paved the way for later artistic movements like Impressionism and Realism. His attention to light and shadow also influenced Baroque painting.

Historical Significance: He is considered a key figure in Dutch Golden Age painting, providing valuable insights into the lives and customs of 17th-century Dutch society.

Later Life and Death

Guild Membership: Van Ostade became a member of the Haarlem Guild of St. Luke in 1634, signifying his recognition as a professional artist.

Continued Success: He enjoyed continued success throughout his career, receiving commissions from wealthy patrons and establishing himself as a respected painter.

Death: Adriaen van Ostade died in Haarlem in 1685. His works continue to be admired for their realism, charm, and historical significance.