Заказать репродукцию Panoramic View of a River with Low-lying Meadows, Jan van Goyen, in or after 1644

Q: Какие темы исследует Panoramic View of a River with Low-lying Meadows, Jan van Goyen, in or after 1644?

river landscape, dutch golden age, panoramic view, meadows, watercraft, atmospheric sky, nature

In addition to many panoramas with a town in the distance, Van Goyen painted several extensive views in the first half of the 1640s in which buildings play only a minor role.4 In this river landscape the horizon is exceptionally low, even for Van Goyen, with the sky taking up almost four-fifths of the picture surface. The rigid planar structure is broken by a repoussoir in the form of two figures on a mound with a young tree and a few bushes. Van Goyen generally used such foreground motifs in the early 1640s.5 The date on this painting has caused a certain amount of confusion. It was read as 1641 in the 1903 catalogue of the Van Goyen exhibition and in other important publications, which is fully in line with Van Goyen’s stylistic development towards landscapes with fewer and fewer repoussoirs. However, dendrochronological examination in 1971 and again in 1995 showed that the tree from which the panel came could not have been felled before 1642.6 One possibility is that the date was simply read incorrectly, as so often happens with Van Goyen;7 another is that some of the digits are abraded. On the evidence of an infrared photograph taken in 1987 it was suggested that the final digit may originally have been a 5.8 That infrared reflectogram is not very convincing though, and there seems to have been some wishful thinking involved when it was interpreted. It is also possible that the signature and date are not autograph, but examination under the stereo microscope did not provide any firm evidence of that. It is true that the signature was added after the paint had dried, and in a colour not found anywhere else in the painting, but there are other instances of that in Van Goyen’s oeuvre.9 All the same, there is cause for doubt, particularly because of the somewhat angular shape of the rather upright letters and numbers.10 Taking everything into account, a date of 1644 or shortly afterwards seems plausible. This places the picture in the same period as Van Goyen’s panoramic views in the vicinity of Haarlem (SK-A-3249 and SK-A-4044). which makes the artist’s development less linear than was thought. In 1890 this painting was in Paris with the art dealer Charles Sedelmeyer, who played an important part in reestablishing Van Goyen’s reputation with his 1873 exhibition on the artist in Vienna, and with the large number of Van Goyens he had from the 1870s on.11 A mirror-image version of this work that Beck calls a copy is not a copy but a compositionally related landscape that was probably executed by a follower of Van Goyen.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. 96.

Биография художника

Jan van Goyen (1596 - 1656)

Jan Josephszoon van Goyen was a painter and etcher, one of the most gifted landscapists in the Netherlands during the early 17th century. He learned painting under several masters at Leiden and Haarlem. His prolific output left approximately twelve hundred paintings and more than one thousand drawings—a testament to his unwavering dedication to capturing the beauty of the Dutch countryside.

Early Life and Training

Jan van Goyen was born on January 13, 1596, in Leiden, Netherlands – a city renowned for its artistic heritage. He began his artistic journey as an apprentice at a young age, honing his skills under the tutelage of Isaac van Swanenburgh (c. 1537–1614), establishing a foundation for his future endeavors. This formative period instilled in him a deep appreciation for observation and meticulous detail—qualities that would define his artistic style throughout his career. Following this initial training, he continued his studies at Haarlem with Esaias van de Velde, further refining his technique and broadening his understanding of landscape painting principles.

Artistic Style and Development

Van Goyen’s distinctive approach to landscape art immediately captivated audiences. He eschewed the flamboyant colors and elaborate compositions favored by many contemporaries, opting instead for a restrained palette dominated by grays, browns, and greens—a deliberate choice that prioritized tonal harmony and atmospheric realism. This stylistic preference stemmed from his belief that true beauty resided not in ostentation but in capturing the subtle nuances of natural light and shadow. His early works bear the unmistakable imprint of Van de Velde’s influence, yet he swiftly cultivated a singular vision characterized by an unwavering focus on conveying the essence of Dutch landscapes—a legacy that continues to inspire artists today.

Prolific Output and Notable Works

Jan van Goyen was an extraordinarily productive artist, producing an estimated 1,200 paintings and over 1,000 drawings during his lifetime – a remarkable feat considering the artistic climate of the era. Among his most celebrated masterpieces are *River Landscape with Windmill*, a quintessential example of his tonal landscapes that embodies the serene beauty of Dutch rural life; and *Fishermen by the Lakeshore*, showcasing his masterful depiction of tranquil waterscapes illuminated by soft sunlight. He frequently explored themes of rivers, lakes, dunes, and expansive skies, meticulously rendering them with remarkable accuracy and sensitivity—a testament to his unwavering commitment to artistic excellence. His paintings often depict scenes of everyday life alongside breathtaking vistas, reflecting the harmonious coexistence between humanity and nature that characterized 17th-century Holland.

Influences and Legacy

Van Goyen’s artistic sensibilities were profoundly shaped by the teachings of Esaias van de Velde, whose emphasis on tonal painting served as a guiding principle for his own stylistic development. Furthermore, he directly impacted artists such as Jan Steen, who regarded him as a mentor and absorbed many of his techniques—a connection that underscores Van Goyen’s enduring influence on the artistic landscape of his time. His unwavering dedication to realism and atmospheric effects paved the way for subsequent generations of landscape painters, establishing him as one of the foremost figures in Dutch Golden Age art history.

Ян ван Эйк

1596 - 1656 , Нидерланды

Основные сведения

Artistic Movement Or Style: Dutch Golden Age painting
Artists Or Movements Influenced By This Artist: Jan Steen
Artists Who Influenced This Artist: Esaias van de Velde
Date Of Birth: January 13, 1596
Date Of Death: April 27, 1656
Full Name: Jan Josephszoon van Goyen
Nationality: Dutch
Notable Artworks:
- River Landscape with Windmill
- Fishermen by the Lakeshore
Place Of Birth: Leiden, Netherlands

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Биография художника

Jan van Goyen (1596 - 1656)

Early Life and Training

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