Buy a reproduction of Frolicking on a Frozen Canal in a Town, Hendrick Avercamp (copy after), c. 1615 - c. 1620

This unsigned ice scene was purchased by the museum in 1884 as a work by Willem Pietersz Buytewech. Three years later, Bredius assigned it to Esaias van de Velde in the museum’s catalogue.2 In 1984, Keyes associated it with a monogrammed ice scene by Hendrick Avercamp (fig. a).3 This composition with skaters and kolf players shows exactly the same location, the northern perimeter canal outside Haarlem, near the St Janspoort city gate, with the Kruispoort in the background and the Pink mill behind it.4 Although the figures in Avercamp’s original are fewer and smaller, the correspondences in the staffage are unmistakable. Striking details found in both paintings include the woman looking out at the viewer on the right who is having her skates tied on by the kneeling man, the icebound boat in the foreground, and the seated figure attending to a call of nature.5 Although the figures betray a practized hand, it is not clear who painted this scene. The style is different from Hendrick Avercamp’s. The attribution to Esaias van de Velde, on which Van Gelder had cast doubt back in 1955, is no longer tenable.6 Keyes was the first to propose the name of Jan van de Velde II.7 Van Thiel8 and Van Suchtelen9 adopted that attribution. Among other things, Van Suchtelen saw similarities in the fanciful pattern of highlights that is also found in the monogrammed oval winter landscape in the Rijksmuseum that is attributed to Jan van de Velde II (SK-A-3241).10 However, the basis for an attribution to the graphic artist Jan van de Velde is wafer thin. There is no clear overview of his painted oeuvre,11 and the differences between the small winter scene monogrammed I.V.V. in the Rijksmuseum and the present painting are greater than the similarities. This large work is considerably more detailed and was more meticulously executed, and the slick figures in opaque paint, most of which were reserved in the background, hardly bear comparison with the rapidly painted staffage of the small winter scene. The palette is also much more colourful. The most sensible course for the time being is to regard the Rijksmuseum’s variant as a copy after Hendrick Avercamp. It would have been painted not long after the original, and can be placed in the second half of the 1610s.12 Gerdien Wuestman, 2007 See Bibliography and Rijksmuseum painting catalogues See Key to abbreviations and Acknowledgements This entry was published in J. Bikker (ed.), Dutch Paintings of the Seventeenth Century in the Rijksmuseum Amsterdam, I: Artists Born between 1570 and 1600, coll. cat. Amsterdam 2007, no. 13.

Related Artworks

Artist Biography

A Pioneer of Dutch Winter: The Life and Art of Hendrick Avercamp

Hendrick Avercamp, a name synonymous with the shimmering, frozen landscapes of the Dutch Golden Age, was born in Amsterdam on January 27, 1585. His life story is as intriguing as his art—a tale marked by both artistic innovation and personal circumstance. From an early age, it became apparent that Avercamp lived within a world experienced differently than most; he was mute, and likely deaf, earning him the affectionate yet defining moniker “de Stomme van Kampen” – the Mute of Kampen. This perceived limitation, however, did not stifle his artistic voice but perhaps sharpened his observational skills, allowing him to translate the nuances of the Dutch winter onto canvas with unparalleled clarity and charm. He initially studied in Amsterdam under Pieter Isaacsz, a portrait painter, and possibly also received guidance from David Vinckboons, whose influence can be seen in Avercamp’s early works. In 1608, he relocated to Kampen, where he would spend the majority of his life and establish himself as a unique and celebrated artist.

Capturing a Frozen World: Artistic Style and Innovation

Avercamp stands out as one of the first dedicated landscape painters in 17th-century Holland, a period traditionally dominated by portraiture, history painting, and still life. He carved his niche by specializing in winter scenes—a subject rarely explored with such consistent focus before him. His paintings aren’t merely depictions of cold weather; they are vibrant snapshots of Dutch life unfolding on the ice. Figures skate, sled, play *kolf* (a form of golf played on ice), and simply enjoy the frozen waterways, creating a lively tapestry of human activity against the stark beauty of the winter landscape. Avercamp's skill lies in his ability to convey both the chill of the season and the warmth of communal enjoyment. He masterfully employed aerial perspective, subtly shifting colors and details to create a convincing sense of depth, drawing the viewer into these icy worlds. His technique often involved applying watercolor washes over pen and ink drawings, creating delicate and luminous effects. These smaller works were frequently sold as finished pieces intended for inclusion in collectors’ albums—a testament to their intimate scale and appeal.

Influences and Development: From Bruegel to Dutch Realism

While Avercamp forged his own distinctive style, he wasn't working in a vacuum. The influence of Flemish masters like Pieter Bruegel the Elder is evident in his early compositions—the bustling scenes filled with numerous figures engaged in everyday activities. However, Avercamp moved beyond mere imitation, developing a uniquely Dutch sensibility characterized by meticulous detail and a keen observation of light and atmosphere. He embraced the growing trend towards realism within Dutch painting, accurately portraying the clothing, tools, and customs of his time. His work also reflects the climatic conditions of the Little Ice Age, a period of unusually cold winters in Europe, which undoubtedly fueled his fascination with frozen landscapes. Unlike some contemporaries who might idealize their subjects, Avercamp presented a realistic—and often humorous—view of life, including playful details that hint at human foibles and everyday occurrences.

Legacy and Historical Significance

Hendrick Avercamp’s impact on Dutch painting is considerable. He not only popularized the winter landscape as a legitimate subject for artistic exploration but also helped to define a distinctly Dutch approach to landscape painting—one that emphasized realism, atmospheric effects, and the depiction of everyday life. His work provided inspiration for later generations of artists and continues to captivate audiences today. Notable collections showcasing his artistry include the Rijksmuseum in Amsterdam, which holds a significant number of his paintings, and the Mauritshuis in The Hague. Avercamp’s legacy extends beyond his artistic achievements; he represents a triumph over adversity, demonstrating that creative expression can flourish even in the face of personal challenges. He died in Kampen on May 15, 1634, leaving behind a body of work that continues to offer a window into the vibrant and often-overlooked world of 17th-century Holland—a world frozen in time, yet brimming with life.

Notable Works

Winter Landscape with Skaters: Perhaps his most iconic work, this painting exemplifies Avercamp’s mastery of capturing the energy and atmosphere of a Dutch winter scene.
Street in Delfi: A rare example of Avercamp venturing beyond landscapes, showcasing his skill in depicting town life.
Enjoying the Ice near a Town: Demonstrates his ability to create dynamic compositions filled with numerous figures engaged in various activities.