La date la plus ancienne qui figure sur une peinture ou gravure de Ruisdael est 1646[16].

Jacob was the nephew of the noted painter Salomon van Ruysdael (this distinction in spelling occurs consistently in their own signatures).
À l'autre extrémité, Franz Theodor Kugler voit un sens à presque tout : « Ils montrent tous le pouvoir silencieux de la nature, qui s'oppose avec sa main puissante à l'activité mesquine de l'homme et, avec un avertissement solennel, repousse ses intrusions »[78]. Today it is spread across private and institutional collections around the world; the National Gallery in London, the Rijksmuseum in Amsterdam, and the Hermitage Museum in St. Petersburg hold the largest collections. [90] Among the English artists influenced by Ruisdael are Thomas Gainsborough, J. M. W. Turner, and John Constable.
[98] Van Gogh's contemporary Claude Monet is also said to be indebted to Ruisdael.

6th St and Constitution Ave NW [9] Jacob's earliest biographer, Arnold Houbraken, called him Jakob Ruisdaal. But more often his late works—such as the The Windmill at Wijk bij Duurstede (c. 1668–70; Rijksmuseum, Amsterdam), Wheat Fields (c. 1670; Metropolitan Museum of Art, New York City), and his numerous views of Haarlem—display panoramas of the flat Dutch countryside. See Neeltje Köhler and Pieter Biesboer, Painting in Haarlem 1500–1850: The Collection of the Frans Hals Museum (Ghent, 2006), 291, note 4.

Plus de cinquante peintures et trente-cinq dessins et gravures sont exposés, d'abord au Mauritshuis de La Haye, puis, en 1982, au Fogg Art Museum de Cambridge au Massachusetts[118]. Paysage avec pont, bétail et silhouettes (c. 1660) Clark Art Institute. Pour Boudewijn Bakker et Diane Webb, toute l'œuvre de l'artiste peut être interprétée selon la vision religieuse du monde en son temps : la nature est la première création de Dieu, à la fois par ses qualités divines intrinsèques et par le souci évident de Dieu pour l'homme et le monde. Il existe peu d'impressions originales de ses eaux-fortes, cinq d'entre elles n'en ayant qu'une seule. [47] His early sketches introduce motifs that would return in all his work: a sense of spaciousness and luminosity, and an airy atmosphere achieved through pointillist-like touches of chalk.

About 1656 Ruisdael settled in Amsterdam, where on July 14, 1657, he was baptized into the Reformed Church (he had been brought up a Mennonite). [26] Despite Ruisdael's numerous Norwegian landscapes, there is no record of him having travelled to Scandinavia. After 1656 Ruisdael’s compositions become more spacious and his palette brighter.

Il peint une douzaine de vues du château de Bentheim, dont la quasi-totalité le place au sommet d'une colline, la plus impressionnante étant pour Seymour Slive celle qui est conservée à la Galerie nationale d'Irlande et qui le situe sur une montagne boisée[49].

The tonal phase suggested atmosphere through the use of tonality, while the classical phase strived for a more grandiose effect, with paintings built up through a series of vigorous contrasts of solid form against the sky, and of light against shade, with a tree, animal, or windmill often singled out.

La possibilité qu'il se soit formé en grande partie tout seul est aussi évoquée[13]. [52], Ruisdael's first panoramic landscape, View of Naarden with the Church at Muiderberg in the Distance, dates from 1647. Concernant l'interprétation des peintures scandinaves de l'artiste, il affirme que celui-ci s'efforce jusqu'au point de rupture d'imaginer « ces représentations de chutes d'eau, de torrents et d'arbres morts comme des sermons visuels sur les thèmes du passage du temps et de la vanité »[59]. [63] With these, Ruisdael pits the natural world against the built environment, which has been overrun by the trees and shrubs surrounding the cemetery. The influence of Cornelis Vroom, another Haarlem landscapist, is often noticeable in his early works of the 1640s.

[28] In 2013, Jan Paul Hinrichs agreed that the evidence is inconclusive. Meindert Hobbema was his most famous pupil and follower.

Parmi les artistes anglais qu'il a influencé figurent notamment Thomas Gainsborough, William Turner et John Constable. Turner a fait de nombreuses copies de ses œuvres et lui a rendu hommage en situant deux de ses tableaux dans un « port Ruysdael » fictif, celui de 1827 (Centre d'art britannique de Yale) et son Bateaux de pêche remorquant un navire en difficulté dans le port de Ruysdael (1844, Tate Britain)[105]. About 1655 he settled in Amsterdam, of which he became a free citizen in 1659.

Les symétries dans les paysages sont des « rappels aux concitoyens de toujours rester dans le droit chemin »[82]. [140][M] Masters would sometimes add a few touches to authenticate a work mostly done by pupils, to maximise both speed and price. Export from an object page includes entry, notes, images, and all menu items except overview and related contents.

He was probably the pupil of his father, the frame maker and artist Isaack de Goyer,who later called himself Ruysdael. Be on the lookout for your Britannica newsletter to get trusted stories delivered right to your inbox. His etchings show little influence from Rembrandt, either in style or technique.

In 1659 he was granted citizenship in Amsterdam, and his name appears again in the records the next year when he testified on July 8 that Meindert Lubbertsz, who later changed his name to Meindert Hobbema (Dutch, 1638 - 1709), had been his pupil.

Ruisdael had numerous followers, the most important of which were Hobbema and Jan van Kessel the Elder (Flemish, 1626 - 1679).

[72][73], The imaginary landscapes of gardens that Ruisdael painted in the 1670s actually reflect an ongoing discourse on the Picturesque in circles of gardening aesthetes like Constantijn Huygens. The intention is spiritual, not moral.

Isaac et Maycken se marient le 12 novembre 1628[7],[8],[n 2].

Il étudie lors de son voyage en Allemagne des moulins à eau et fait d'eux le motif principal de plusieurs tableaux, ce qui est inédit à l'époque[54]. Dans son œuvre tardive, accomplie alors qu'il vit et travaille à Amsterdam, il ajoute à son répertoire habituel des panoramas urbains et des marines. 140 dessins lui ont survécu[62], le Rijksmuseum, le musée Teyler de Haarlem, le Kupferstich-Kabinett de Dresde, et l'Ermitage en possédant chacun des collections importantes[10],[101]. By applying heavier paint than his predecessors, Ruisdael gave his foliage a rich quality, conveying a sense of sap flowing through branches and leaves. Son seul élève connu de source sûre est Meindert Hobbema, l'un des artistes chargés de peindre des personnages dans ses paysages. L'identité de son maître est également incertaine[9].

Encyclopaedia Britannica's editors oversee subject areas in which they have extensive knowledge, whether from years of experience gained by working on that content or via study for an advanced degree.... Get exclusive access to content from our 1768 First Edition with your subscription. En 1915, l'historien d'art néerlandais Abraham Bredius estime que son compatriote est plus un poète qu'un peintre[115]. Ruisdael et son art doivent par ailleurs être considérés dans le contexte de l'incroyable opulence et des changements géographiques importants ayant eu lieu au cours du siècle d'or néerlandais. It breaks with the classic Dutch tradition of depicting broad views of dunes that include houses and trees flanked by distant vistas. His draftsmanship is meticulously precise and is enriched by thick impasto, which adds depth and character to the foliage and trunks of his trees.

Paysage de montagne avec chute d'eau (c. 1675), musée d'histoire de l'art de Vienne. Constable a lui aussi copié divers dessins, gravures et peintures de Ruisdael, dont il a été un grand admirateur dès son plus jeune âge : « Il hante mon esprit et s'accroche à mon cœur », écrit-il après avoir vu l'un de ses tableaux[106]. It is not certain if Ruisdael had more pupils other than Hobbema in his studio, but at least four other artists have been identified as having provided staffage for his landscapes.

L'historien de l'art Yuri Kuznetsov place son œuvre dans le contexte de la guerre de Quatre-Vingts Ans. Some of the dunescapes that he produced during the late 1640s clearly draw on the works by Salomon, while his wooded landscapes of these years suggest he also had contact with the Haarlem artist Cornelis Vroom (c. 1591–1661).

Nonetheless, as the second document attests, a landscape with a waterfall was sold in 1720 as the work of “Doctor Jacob Ruisdael,” thus the possibility that the artist Jacob van Ruisdael was also a practicing doctor cannot be entirely dismissed. Jacob Isaackszoon van Ruisdael was born in Haarlem in 1628 or 1629 into a family of painters, all landscapists. La toile Deux moulins à eau avec une écluse ouverte (1653), en est un parfait exemple[55]. This growth in popularity of landscapes continued throughout Ruisdael's career. In the 1670s the French invaded the Netherlands and this had dire consequences for the art market. In around 1650 after completing his studies he went travelling across the Netherlands and also visited Germany. [144] Art historians only know of one commission,[N] a work for the wealthy Amsterdam burgomaster Cornelis de Graeff, jointly painted with Thomas de Keyser.

None of Isaak's paintings have been identified with certainty, and it is impossible to determine the nature and extent of his influence on Ruisdael. Pour Hofstede de Groot, les compositions effectuées par Ruisdael surpassent rapidement les meilleures toiles d'Everdingen[61]. [100] A couple of decades later other English critics were less impressed.