See also:

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

RUYSDAEL (or RUISDAAL), See also:

• JACOB
• JACOB, JOHN (1812-1858)

JACOB See also:

• VAN

VAN (c. 1628-1682)  , the most celebrated of the Dutch landscapists, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• HAARLEM

Haarlem . He appears to have studied under his See also:

• FATHER

father Izaak See also:

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

Ruysdael, a landscape painter, though other authorities make him 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 Berghem and of See also:

• ALBERT
• ALBERT (1490'1545)
• ALBERT (149o-1568)
• ALBERT (1522–1557)
• ALBERT (FRANCIS CHARLES AUGUSTUS ALBERT EMMANUEL) (1819—1861)
• ALBERT (FRIEDRICH RUDOLF ALBRECHT)
• ALBERT, FREDERICK AUGUSTUS
• ALBERT, MADAME (c. 2805—2846)

Albert See also:

• VAN

van See also:

• EVERDINGEN, ALLART VAN (1621-?1675)

Everdingen . The earliest date that appears on his paintings and etchings is 1645 . Three years later he was admitted a member of the gild of St See also:

• LUKE
• LUKE, GOSPEL OF ST

Luke in Haarlem; in 1659 he obtained the freedom of the See also:

• CITY (through Fr. cite, from Lat. civitas)

city of See also:

• AMSTERDAM
• AMSTERDAM (NEw AMSTERDAM)

Amsterdam, and in 1668 his name appears there as a See also:

• WITNESS
• WITNESS (from O. Eng. witan, to know)

witness to the See also:

• MARRIAGE

marriage of See also:

• HOBBEMA, MEYNDERT (c. 1638-1709)

Hobbema . During his lifetime his See also:

• WORKS

works were little appreciated, and he seems to have suffered from poverty . In 1681 the See also:

• SECT

sect of the See also:

• MENNONITES

Mennonites, with whom he was connected, petitioned the See also:

• COUNCIL (Lat. concilium, from cum, together, and the root cal, to call)

council of Haarlem for his See also:

• ADMISSION

admission into the See also:

• ALMSHOUSE

almshouse of the See also:

• TOWN

town, and there the artist died on the 14th of See also:

• MARCH
• MARCH (1) (from Fr. marcher, to walk; the earliest sense in French appears to be " to trample," and the origin has usually been found in the Lat. marcus, hammer; Low Lat. marcare, to hammer; hence to beat the road with the regular tread of a soldier: cf.
• MARCH, AUZIAS (c. "1395-1458)
• MARCH, EARLS OF
• MARCH, FRANCIS ANDREW (1825– )

March 1682 . The works of Ruysdael may be studied in the Louvre and the See also:

• NATIONAL

National See also:

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

Gallery, See also:

• LONDON

London, and in the collections at the See also:

• HAGUE, THE (in Dutch, 's Gravenhage, or, abbreviated, den Haag; in Fr. La Haye; and in Late Lat. Haga Comitis)

Hague, Amsterdam, See also:

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

Berlin, and See also:

• DRESDEN

Dresden . His favourite subjects are See also:

• SIMPLE

simple woodland scenes, similar to those of Everdingen and Hobbema . He is especially noted as a painter of trees, and his rendering of foliage, particularly of See also:

• OAK (O. Eng., (lc)

oak leafage, is characterized by the greatest spirit and precision . His views of distant cities, such as that of Haarlem in the See also:

• POSSESSION
• POSSESSION (Lat. possessio, possidere, to possess)

possession of the See also:

• MARQUESS (1760-1842)
• MARQUESS, or MARQUIS (Fr. marquis, Ital. marchese; from med. Lat. marchio, marchisus, i.e. comes marchiae, " count of the March ")

marquess of See also:

• BUTE
• BUTE, JOHN STUART, 3RD EARL OF (1713-1792)

Bute, and that of Katwijk in the See also:

• GLASGOW

Glasgow See also:

• CORPORATION (from Lat. corporare, to form into a body, corpus, corporis)

Corporation Galleries, clearly indicate the See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence of See also:

• REMBRANDT (1606-1669)

Rembrandt . He frequently paints See also:

• COAST (from Lat. costa, a rib, side)

coast-scenes and See also:

• SEA (in O. Eng. sae, a common Teutonic word; cf. Ger. See, Dutch Zee, &c.; the ultimate source is uncertain)
• SEA, COMMAND OF THE

sea-pieces, but it is in his rendering of lonely See also:

• FOREST

forest glades that we find him at his best . The subjects of certain of his See also:

• MOUNTAIN (0. Fr. montaigne; popular Lat. montanea, an adjectival form from the classical mons, montis, whence Eng. " mount," a form usually used along with the name of an individual mountain, e.g. Mt Everest)
• MOUNTAIN, THE (La Montagne)

mountain scenes seem to be taken from See also:

• NORWAY
• NORWAY (Norge)

Norway, and have led to the supposition that he had travelled in that 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 .

We have, however, no See also:

• RECORD (Lat. recordari, to recall to mind, from cor, heart or mind)

record of such a See also:

• JOURNEY (through O. Fr. jornee or journee, mod. Fr. journee, from med. Lat. diurnata, Lat. diurnus, of or belonging to dies, day)

journey, and the works in question are probably merely adaptations from the landscapes of Van Everdingen, whose manner he copied at one See also:

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

period . Only a single architectural subject from his See also:

• BRUSH (from Fr. brosse, which, like the English word, means both the undergrowth of a wood and the instrument; if the word in both these meanings is ultimately the same, then the origin is from a bundle of brushwood used as a brush or broom, but this is h
• BRUSH, GEORGE DE FOREST (1855– )

brush is known—an admirable interior of the New 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, Amsterdam, in the possession of the marquess of Bute . The prevailing See also:

• HUE

hue of his landscapes is a full See also:

• RICH, BARNABE (c. 1540-1617)
• RICH, CLAUDIUS JAMES (1787-1821)
• RICH, JOHN (1692-1761)
• RICH, PENELOPE, LADY (c. 1562–1607)
• RICH, RICHARD, 1ST BARON RICH (1490?-1567)

rich See also:

• GREEN, A
• GREEN, ALEXANDER HENRY (1832—1896)
• GREEN, DUFF (1791—1875)
• GREEN, JOHN RICHARD (1837—1883)
• GREEN, MATTHEW (1696-1737)
• GREEN, THOMAS HILL (1836-1882)
• GREEN, VALENTINE (1739–1813)
• GREEN, WILLIAM HENRY (.1825–1900)

green, which, however, has darkened with 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, while a clear 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 See also:

• TONE, THEOBALD WOLFE (1763-1798)

tone is characteristic of his sea-pieces . The See also:

• ART

art of Ruysdael, while it shows' little of the scientific knowledge of later landscapists, is sensitive and poetic in sentiment, and See also:

• DIRECT

direct and skilful in technique . Figures are sparingly introduced into his compositions, and such as occur are believed to be from the pencils of See also:

• ADRIAN
• ADRIAN, SAINT

Adrian See also:

• VANDEVELDE, ADRIAN (1639-1672)
• VANDEVELDE, WILLIAM (1633-1707)

Vandevelde, 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 See also:

• WOUWERMAN, PHILIP (1618-1668)

Wouwerman, and See also:

• JAN

Jan Lingelbach . Unlike the other See also:

• GREAT

great Dutch landscape painters, Ruysdael did not aim at a pictorial record of particular scenes,' but he carefully thought out and arranged his compositions, introducing into them an See also:

• INFINITE (from Lat. in, not, finis, end or limit; cf. findere, to deave)

infinite variety of subtle contrasts in the formation of the clouds, the See also:

• PLANTS

plants and See also:

• TREE (0. Eng. treo, treow, cf. Dan. tree, Swed. Odd, tree, trd, timber; allied forms are found in Russ. drevo, Gr. opus, oak, and 36pv, spear, Welsh derw, Irish darog, oak, and Skr. dare, wood)
• TREE, SIR HERBERT BEERBOHM (1853- )

tree forms, and the See also:

• PLAY

play of See also:

• LIGHT

light . He. particularly excels in the See also:

• PAINTING

painting of cloudy skies which are spanned See also:

• DOME (Lat domus, house; Ital. duomo, cathedral)

dome-like over the landscape, and determine the light and shade of the See also:

• OBJECTS

objects . Characteristic of his See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early period, from about 1646 to 1653, is the choice of very simple motifs and the careful and laborious study of the details of nature . The time between his departure from Haarlem and his settling in Amsterdam may have been spent in travelling and helped. him to gain a broader view of nature and to widen the See also:

• HORIZON (Gr. 6pfTwv, dividing)

horizon of his art . ` Mr See also:

• OTTO

Otto See also:

• BEIT, ALFRED (1853-1906)

Beit owns a magnificent view' of ,the `" See also:

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

Castle of Bentheim," dated 1654; from which it may be concluded that his wanderings extended to See also:

• GERMANY
• GERMANY (Ger. Deutschland)

Germany . 'In his last period, from about 1675 onwards, he shows a tendency towards overcrowded : compositions,-and affects a darker tonality, which may partly be due to the use of thin paint on a dark ground . Towards the end, in his leaning towards the romantic See also:

• MOOD

mood, he preferred to draw his See also:

• INSPIRATION (Lat. inspirare, breathe upon or into)

inspiration from other masters, instead •of going to nature direct, his favourite subjects being rushing torrents and waterfalls, and ruined castles on mountain crests, which are frequently borrowed from the Swiss views by Roghman .

Ruysdael etched a few plates, which were reproduced by Amand See also:

• DURAND, ASHER BROWN (1796-1886)
• DURAND, GUILLAUME (d. 1334)
• DURAND, GUILLAUME (GUILLELMUS DURANDUS)

Durand in 1878, with See also:

• TEXT (Lat. textum, woven fabric, from texere, to weave)

text by Georges Duplessis . The " Cornfield " and the " Travellers " are characterized by M . Duplessis as prints of a high See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order which may be regarded as the most significant expressions of landscape art in the See also:

• LOW, SETH (1850- )
• LOW, WILL HICOK (1853- )

Low Countries .