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Oil Paintings
Come From United Kingdom
An option that you can own an 100% hand-painted oil painting from our talent artists. |
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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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Meindert Hobbema
Avenue at Middleharnis
1689
National Gallery, London
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Meindert Hobbema
Road on a Dyke
1663
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Meindert Hobbema
The Travelers
1662
National Gallery of Art, Washington DC
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Meindert Hobbema
Woodland Road
Metropolitan Museum of Art, New York
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Meindert Hobbema
Cottages Beside a Track Through a Wood
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Meindert Hobbema
Landscape with a Hut
c. 1660
Oil on wood,
53 x 65 cm
Museum of Fine
Arts, Budapest
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Meindert Hobbema
Landscape
Panel,Alte
Pinakothek,Munich
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Meindert Hobbema
Road on a Dyke
1663Oil on canvas
108 x 128,3 cm
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Meindert Hobbema
The Travelers
1663Oil on canvas
National Gallery
of Art, Washington
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Meindert Hobbema
The Water Mill
1660Oil on canvas
80 x 66 cmLouvre
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Meindert Hobbema
The Water Mill
The Water Mill
1663Oil on wood
77,5 x 111 cm
Musees Royaux
des Beaux-Arts,
Brussels
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Meindert Hobbema
The Watermill Oak
59,5x84,5cm
Gemaldegalerie,
Dresden
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Meindert Hobbema
Wooded Landscape with Water Mill
1662
Oil on canvas
Art Institute of Chicago
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Meindert Hobbema
The Water Mill (mk05)
Canvas 31 1/4 x 26''(80 x 66 cm)Acquired in 1861
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Meindert Hobbema
Avenue at Middelharnis (mk08)
1689
Oil on canvas
103.5x141cm
London,National Gallery
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Meindert Hobbema
Watermill beside a Woody Lane (mk25)
166(5 or 8)
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Meindert Hobbema
Wooded Landscape with Travellers (mk25)
1668
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Meindert Hobbema
The Alley at Middelharnis
nn07
1689
Oil on canvas, 103,5 x 141 cm
National Gallery, London
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Meindert Hobbema
Avenue at Middelharnis
mk86
1689
Oil on canvas
103.5x141cm
London,National Gallery
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Meindert Hobbema
Village with Water Mill Among Trees
mk29
Oil on oak panel
94.3x129.8cm
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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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