MEYNDERT See also:

• MEYNDERT HOBBEMA (c. 1638-1709)

HOBBEMA (c. 1638-1709)  , the greatest landscape painter of the Dutch school after See also:

• RUYSDAEL (or RUISDAAL), JACOB VAN (c. 1628-1682)

Ruysdael, lived at See also:

• AMSTERDAM
• AMSTERDAM (NEw AMSTERDAM)

Amsterdam in the second See also:

• HALF

half of the 17th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century . The facts of his See also:

• LIFE

life are somewhat obscure . Nothing is more disappointing than to find that in See also:

• HOBBEMA, MEYNDERT (c. 1638-1709)

Hobbema's See also:

• CASE
• CASE, JOHN (d. 1600)

case See also:

• CHRONOLOGY (Gr. xpovo?oyfa, computation of time, xp6vos)

chronology and signed pictures substantially contradict each other . According to the latter his practice lasted from 165o to 1689; according to the former his See also:

• BIRTH (a word common in various forms to Teutonic languages from the root of the verb " to bear ")

birth occurred in 1638, his See also:

• DEATH

death as See also:

• LATE

late as 1709 . If the masterpiece formerly in the Bredel collection, called " A Wooded Stream, " honestly bears the date of 165o, or " The Cottages under Trees " of the See also:

• FORD, EDWARD ONSLOW
• FORD, JOHN (r586–c.1640)
• FORD, RICHARD (1796-1858)
• FORD, THOMAS (b. c. 158o)

Ford collection the date of 1652, the painter of these canvases cannot be Hobbema, whose birth took See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place in 1638, unless indeed we admit that Hobbema painted some of his finest See also:

• WORKS

works at the See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age of twelve or fourteen . For a considerable See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period it was profitable to pass Hobbemas as Ruysdaels, and the name of the lesser See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master was probably erased from several of his productions . When Hobbema's See also:

• TALENT (Lat. talentum, adaptation of Gr. TaXavrov, balance, ! Recollections of a First Visit to the Alps (1841); Vacation Rambles weight, from root raX-, to lift, as in rXi vac, to bear, 1-aXas, and Thoughts, comprising recollections of three Continental

talent was recognized, the contrary See also:

• PROCESS

process was followed, and in this way the name, and perhaps fictitious See also:

• DATES

dates, reappeared by See also:

• FRAUD (Lat. fraus, deceit)

fraud . An experienced See also:

• EYE
• EYE (O. Eng. edge, Ger. Auge; derived from an Indo-European root also seen in Lat. oc-ulus, the organ of vision (q.v.)

eye will See also:

• NOTE
• NOTE (Lat. nota, mark, sign, from noscere, to know)

note the See also:

• DIFFERENCES, CALCULUS OF (Theory of Finite Differences)

differences which occur in Hobbema's signatures in such well-known examples as adorn the galleries of See also:

• LONDON

London and See also:

• ROTTERDAM

Rotterdam, or the Grosvenor and See also:

• VAN

van der Hoop collections . Meanwhile, we must be content tp know that, if the question of dates could be brought into accordance with records and chronology, the facts of Hobbema's life would be as follows . Meyndert Hobbema was married at the age of See also:

• THIRTY

thirty to Eeltije Vinck of Gorcum, in the Oudekerk or old See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

church at Amsterdam, on the 2nd of See also:

• NOVEMBER (Lat. novem, nine)

November 1668 . Witnesses to the See also:

• MARRIAGE

marriage were the See also:

• BRIDE (a common Teutonic word, e.g..Goth. bruths, O. Eng. bryd, O. H. Ger. prs2t, Mod. Ger. Bract, Dut. bruid, possibly derived from the root bru-, cook, brew; from the med. latinized form bruta, in the sense of daughter-in-law, is derived the Fr. bru)

bride's See also:

• BROTHER

brother See also:

• CORNELIUS
• CORNELIUS, CARL AUGUST PETER (1824-1874)
• CORNELIUS, PETER VON (1784–1867)

Cornelius Vinck and See also:

• JACOB
• JACOB, JOHN (1812-1858)

Jacob Ruysdael . We might suppose from this that Hobbema and Ruysdael, the two See also:

• GREAT

great masters of landscape, were See also:

• UNITED

united at this See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time by ties of friendship, and accept the belief that the former was the See also:

• PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)

pupil of the latter .

Yet even this is denied to us, since records tell us that there were two Jacob Ruysdaels, See also:

• COUSINS, SAMUEL (18o1-1887)

cousins and contemporaries, at Amsterdam in the See also:

• MIDDLE

middle of the 1,7th century—one a framemaker, the son of See also:

• SOLOMON, ODES OF
• SOLOMON, PSALMS OF

Solomon, the other a painter, the son of See also:

• ISAAC (Hebrew for " he laughs," on explanatory references to the name, see ABRAHAM)

Isaac Ruysdael . Of Hobbema's marriage there came between 1668 and 1673 four See also:

• CHILDREN, LAW RELATING TO

children . In 1704 Eeltije died, and was buried in the pauper See also:

• SECTION
• SECTION (Lat. sectio, cutting, secare, to cut)

section of the See also:

• LEIDEN

Leiden See also:

• CEMETERY (Gr. Korrsnri7pwv, from Hoiµav, to sleep)

cemetery at Amsterdam . Hobbema himself survived till See also:

• DECEMBER (Lat. decent, ten)

December 1709, receiving See also:

• BURIAL

burial on the 14th of that See also:

• MONTH
• MONTH (a common Teutonic word, cf. Ger. Mond, Du. maand, Dan. maaned, &c., and cognate with Lat. mensis, Gr. µi7v, &c., in other branches of the Indo-Germanic family; all ultimately from the root seen in the word for the moon in nearly all those languages

month in the pauper section of the Westerkerk cemetery at Amsterdam . See also:

• HUSBAND

Husband and wife had lived during their lifetime in the Rozengracht, at no great distance from See also:

• REMBRANDT (1606-1669)

Rembrandt, who also dwelt there in his later and impoverished days . Rembrandt, See also:

• HALS, FRANS (158o?–1666)

Hals, Jacob Ruysdael, and Hobbema were in one respect alike . They all died in misery, insufficiently rewarded perhaps for their toil, imprudent perhaps in the use of the means derived from their labours . Posterity has recognized that Hobbema and Ruysdael together represent the final development of landscape See also:

• ART

art in See also:

• HOLLAND
• HOLLAND, CHARLES (1733–1769)
• HOLLAND, COUNTY AND PROVINCE OF
• HOLLAND, HENRY FOX, 1ST BARON (1705–1774)
• HOLLAND, HENRY RICH, 1ST EARL OF (1S9o-,649)
• HOLLAND, HENRY RICHARD VASSALL FOX, 3RD
• HOLLAND, JOSIAH GILBERT (1819-1881)
• HOLLAND, PHILEMON (1552-1637)
• HOLLAND, RICHARD, or RICHARD DE HOLANDE (fl. 1450)
• HOLLAND, SIR HENRY, BART

Holland . Their See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style is so related that we cannot suppose the first to have been unconnected with the second . Still their works differ in certain ways, and their See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character is generally so marked that we shall find little difficulty in distinguishing them, nor indeed shall we hesitate in separating those of Hobbema from the feebler productions of his imitators and predecessors--Isaac Ruysdael, Rontbouts, de Vries, See also:

• DEKKER (or DECKER), THOMAS (c. 1570-1641)
• DEKKER, EDWARD DOUWES (182o-1887)
• DEKKER, JEREMIAS DE (1610-1666)

Dekker, Looten, Verboom, du Bois, van Kessel, van der See also:

• HAGEN
• HAGEN, FRIEDRICH HEINRICH VON DER (178o-1856)

Hagen, even See also:

• PHILIP
• PHILIP (Gr.'FiXtrsro , fond of horses, from dn)^eiv, to love, and limos, horse; Lat. Philip pus, whence e.g. M. H. Ger. Philippes, Dutch Filips, and, with dropping of the final s, It. Filippo, Fr. Philippe, Ger. Philipp, Sp. Felipe)
• PHILIP, JOHN (1775-1851)
• PHILIP, KING (c. 1639-1676)
• PHILIP, LANOGRAVE OF HESSE (1504-1567)

Philip de Koningk . In the exercise of his See also:

• CRAFT (a word common to Teutonic languages for strength, or power; cf. Ger. Kraft)

craft Hobbema was patient beyond all conception . It is doubtful whether any one ever so completely mastered as he did the still life of See also:

• WOODS, LEONARD (1774-1854)
• WOODS, SIR ALBERT (1816-1904)

woods and hedges, or See also:

• MILLS, JOHN (d. 1736)
• MILLS, ROGER QUARLES (1832– )

mills old books again, fed his mind on maps and charts of See also:

• EARTH
• EARTH (a word common to Teutonic languages, cf. Ger. Erde, Dutch aarde, Swed. and Dan. jord; outside Teutonic it appears only in the Gr. 'pq'e, on the ground; it has been connected by some etymologists with the Aryan root ar-, to plough, which is seen in
• EARTH, FIGURE OF
• EARTH, FIGURE OF THE

earth and 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 See also:

• DAY (O. Eng. dreg, Ger. Tag; according to the New English Dictionary, " in no way related to the Lat. dies")
• DAY, JOHN (1574-1640?)
• DAY, THOMAS (1748-1789)

day after day he might study the branching and foliage of trees and underwood embowering cottages and mills, under every variety of See also:

• LIGHT

light, in every shade of transparency, in all changes produced by the seasons . Though his landscapes are severely and moderately toned, generally in an See also:

• OLIVE (Olea europaea)

olive See also:

• KEY
• KEY (in O. Eng. tang; the ultimate origin of the word is unknown; it appears only in Old Frisian kei of other Teutonic languages; until the end of the 17th century the pronunciation was kay, as in other words in O. Eng. ending in aeg; cf. daeg, day; clang
• KEY (the phraseograms being indicated by hyphens)
• KEY, SIR ASTLEY COOPER (1821-1888)
• KEY, THOMAS HEWITT (1799-1875)

key, and often attuned to a puritanical See also:

• GREY, CHARLES GREY, 2ND EARL (1764-1845)
• GREY, HENRY GREY, 3RD EARL (1802-1894)
• GREY, LADY JANE (1537-1554)
• GREY, SIR EDWARD
• GREY, SIR GEORGE (1812–1898)

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 See also:

• TOUCH (derived through Fr. toucher from a common Teutonic and Indo-Germanic root, cf. " tug," " tuck," O. H. Ger. zucchen, to twitch or draw)

touch . With astonishing subtlety light is shown penetrating See also:

• CLOUD (from the same root, if not the same word, as " clod," a word common in various forms to Teutonic languages for a mass or lump; it is first applied in the usual sense in the late 13th century; the Anglo-Saxon chid is only used in the sense of " a ma

cloud, and See also:

• ILLUMINATING

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 See also:

• CHANCE (through the O. Fr. cheance, from the Late Lat. cadentia, things happening, from cadere, to fall out, happen; cf. " case ")

chance be given him he mirrors all these things in the still See also:

• POOL

pool near a cottage, the reaches of a sluggish See also:

• RIVER

river, or the swirl of the stream that feeds a busy See also:

• MILL
• MILL (O. Eng. mylen, later myln, or miln, adapted from the late Lat. molina, cf. Fr. moulin, from Lat. mola, a mill, molere, to grind; from the same root, mol, is derived " meal;" the word appears in other Teutonic languages, cf. Du. molen, Ger. muhle)
• MILL, JAMES (1773-1836)
• MILL, JOHN (c. 1645–1707)
• MILL, JOHN STUART (1806-1873)

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 Ruysdael because he had not Ruysdael's versatility and did not extend his study equally to See also:

• DOWNS

downs and rocky eminences, or torrents and estuaries—this is the See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man who lived penuriously, died poor, and See also:

• LEFT

left no trace in the See also:

• ARTISTIC

artistic See also:

• ANNALS (Annales, from annus, a year)

annals of his See also:

• COUNTRY (from the Mid. Eng. contre or contrie, and O. Fr. cuntree; Late Lat. contrata, showing the derivation from contra, opposite, over against, thus the tract of land which fronts the sight, cf. Ger. Gegend, neighbourhood)

country ! It has been said that Hobbema did not paint his own figures, but transferred that See also:

• DUTY (from " due," that which is owing, O. Fr. deu, dil, past participle of devoir; Lat. debere, debitum; cf. " debt ")

duty to See also:

• ADRIAN
• ADRIAN, SAINT

Adrian van de Velde, Lingelbach, Barendt Gael, and See also:

• ABRAHAM, or ABRAM (Hebrew for " father is high ")

Abraham Storck . As to this much is conjecture . The best of Hobbema's dated pictures are those of the years 1663 to 1667 . Of the former, several in the galleries of See also:

• BRUSSELS (Fr. Bruxelles, Flem. Brussel)

Brussels and St See also:

• PETERSBURG

Petersburg, and one in the Holford collection, are celebrated . Of 1665 See also:

• FINE

fine specimens are at Grosvenor See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

House and the See also:

• WALLACE, ALFRED RUSSEL (1823— )
• WALLACE, LEWIS [LEW] (1827—1905)
• WALLACE, SIR RICHARD
• WALLACE, SIR WILLIAM (c. 1270-1305)
• WALLACE, WILLIAM (1768-1843)
• WALLACE, WILLIAM (1844-1897)
• WALLACE, WILLIAM VINCENT (1814-1865)

Wallace collection . Of seven pieces in the See also:

• NATIONAL

National See also:

• GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

Gallery, including the See also:

• AVENUE (the past participle feminine of Fr. avenir, to come to)

Avenue at Middelharnis," which some assign to 1689, and the " Ruins of Breberode See also:

• CASTLE
• CASTLE (Lat. castellum, a fort, diminutive of castra, a camp; Fr. chateau and chdtel)

Castle," two are dated 1667 .

A See also:

• SAMPLE (through the O. Fr. essemple, from Lat. exemplum; a doublet of " example ")

sample of the last of these years is also in the See also:

• FITZWILLIAM, SIR WILLIAM (1526-1599)
• FITZWILLIAM, WILLIAM WENTWORTH FITZWILLIAM, 2ND EARL (1748-1833)

Fitzwilliam Museum at See also:

• CAMBRIDGE
• CAMBRIDGE, EARLS AND DUKES OF
• CAMBRIDGE, RICHARD OWEN (1717-1802)

Cambridge . Amongst the masterpieces in private hands in See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England may be noticed two landscapes in See also:

• BUCKINGHAM
• BUCKINGHAM, EARLS, MARQUESSES AND DUKES OF
• BUCKINGHAM, FIRST DUKE
• BUCKINGHAM, GEORGE VILLIERS, 1ST DUKE 0E1
• BUCKINGHAM, GEORGE VILLIERS, 2ND DUKE 0E1 (1628-1687)
• BUCKINGHAM, HENRY STAFFORD, 2ND DUKE OF3 (1454-1483)
• BUCKINGHAM, JAMES SILK (1786-1855)

Buckingham See also:

• PALACE (Lat. Palatium, the name given by Augustus to his residence on the Palatine Hill)

Palace, two at See also:

• BRIDGEWATER, FRANCIS EGERTON, 3RP DUKE OF (1736-1803)
• BRIDGEWATER, FRANCIS HENRY EGERTON

Bridgewater House, and one belonging to Mr See also:

• WALTER, HUBERT (d. 1205)
• WALTER, JOHN (1738/9-1812)

Walter of Bearwood . On the See also:

• CONTINENT (from Lat. continere, "to hold together "; hence " connected," " continuous ")

continent are a " Wooded Landscape " in the See also:

• BERLIN
• BERLIN, CONGRESS AND TREATY OF
• BERLIN, ISAIAH (1725–1799)

Berlin allery, a " See also:

• FOREST

Forest " belonging to the duchess of See also:

• SAGAN

Sagan in See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris, and a Glade " in the Louvre . There are other fine Hobbemas in the See also:

• ANTWERP
• ANTWERP (Fr. Anvers)

Antwerp Museum, the Arenberg gallery at Brussels, and the See also:

• BELVEDERE, or BELVIDERE (Ital. for " fair-view ")

Belvedere at See also:

• VIENNA (Ger. Wien; Lat. Vindobona)
• VIENNA, CONGRESS OF (1814-1815)

Vienna . (J . A .