The mood in this painting is sombre, even sinister.
The sky is dark and oppressive, and the background is dominated by shadowy cliffs. Alone with Vermeer - 'the most beautiful painting in the world'.
However, an image of this painting is not available to download. The tall chimneys of the house hidden among the trees seem the most stable things in van Ruisdael’s picture, holding on to the steep hillside that slides down towards the river.
In the right foreground, the fallen birch tree – a common device to help give an impression of depth to a view – hints at the destructive power of nature. The download will include a document with the credit lines listed. This landscape was, for a long time, thought to be by a follower of Jacob van Ruisdael, but both the landscape and the figures are now considered to be van Ruisdael’s work.The identification was probably made difficult by the layers of old varnish that obscure the work, but it’s still possible to... A rutted road leads into a wood and winds round to the right and over a rise to disappear. A miraculous appearance for a queen: Juan de Flandes, A wedding and a miracle for the queen of Spain, Apostle or Saint, bringing the figure to life, Introduction to the Protestant Reformation (part 1 of 4): Setting the stage, Introduction to the Protestant Reformation (part 2 of 4): Martin Luther, Introduction to the Protestant Reformation (part 3 of 4): Varieties of Protestantism, Introduction to the Protestant Reformation (part 4 of 4): The Counter-Reformation, Iconoclasm in the Netherlands in the Sixteenth Century, Francis Bacon and the Scientific Revolution, Restoring ancient sculpture in Baroque Rome, Francesco Borromini, San Carlo alle Quattro Fontane, Rome, Caravaggio and Caravaggisti in 17th-century Europe, A Still Life of Global Dimensions: Antonio de Pereda’s.
In the 1660s and early 1670s Ruisdael painted a series of so-called 'Haarlempjes' – panoramic views of Haarlem and its surrounding bleaching fields – which are among his finest achievements. In another it will be gone, falling instead on the sheep on the steep hillside across the valley, perhaps, or the distant windmill and church steeple beyond. This, one of van Ruisdael’s most famous paintings, is a bigger version of his An Extensive Landscape with Ruins, also in the National Gallery’s collection. The wind seems to chase the clouds across this painting, letting through a fitful sun to light up the tumbling water for one moment. View of Haarlem with Bleaching Fields (c. 1670–1675) is an oil painting on canvas by the Dutch painter Jacob van Ruisdael. In this painting, Van Ruisdael captured the essence of the Dutch landscape. An upgrade is not required, but is strongly recommended to improve your browsing experience on our website.
. This painting, for some time thought to be by an unknown artist, is now considered to be by Jacob van Ruisdael, the leading Dutch landscape painter of the seventeenth century. By using this website, you agree to the terms of our Privacy Policy. From a high dune, we look out over the flat land in the direction of Haarlem, the city in the distance.
His subjects are by no means flat.
It is an example of Dutch Golden Age painting and is now in the collection of the Kunsthaus Zürich.
Gainsborough admired and made copies of van Ruisdael’s work, but rather than the pastoral views that appea... A mountain top shrouded in mist, a bubbling torrent of water tumbling headlong down a rocky hillside, a lone tree piercing the clouds – this was one of the favourite themes of the great Dutch landscape artist Jacob van Ruisdael during the middle of the seventeenth century. Using your current browser will prevent you from accessing features on our website. Jacob van Ruisdael, one of the most important seventeenth-century Dutch landscape painters, completed about fifteen views of Haarlem showing the linen-bleaching fields.
Welcome to the Mauritshuis! We created Smarthistory to provide students around the world with the highest-quality educational resources for art and cultural heritage—for free. We believe that the brilliant histories of art belong to everyone, no matter their background. This picture was painted by a seventeenth-century Dutch imitator of Jacob van Ruisdael and is possibly an early work by the artist’s follower Johan van Kessel. Jacob van Ruisdael, View of Haarlem with Bleaching Grounds by Dr. Beth Harris and Dr. Steven Zucker Jacob van Ruisdael, View of Haarlem with Bleaching Grounds , c. 1670–75, oil on canvas, 55.5 x 62 cm (Mauritshuis, The Hague)
This is an early example of such a 'Haarlempje'. Heavy, rain-dark clouds loom over a rugged landscape of scrubby trees, crags and three pines dramatically silhouetted against the sky. The National Gallery has endeavoured to make as many images of the collection as possible available for non-commercial use.
Nicola Pisano, Pulpit, Pisa Baptistery, and Giovanni Pisano, Illustrating a Fifteenth-Century Italian Altarpiece, Linear Perspective: Brunelleschi's Experiment. He directs our gaze deep into the painting along the patches of sunshine, from the fields where linen is spread out to bleach to Saint Bavo’s Church in the distance. The figures in the foreground were inserted by his contemporary Adriaen van de Velde. In this painting, Van Ruisdael captured the essence of the Dutch landscape.
This painting is a copy of Jacob van Ruisdael’s original, which is in a private collection in Canada. The slender trunks of the birch trees on the right are twisted and crooked, and the leaves turning yellow are ready to... A grey, turbulent sky dominates the scene, but our eye is also caught by a patch of light in the fields: the sun has broken through a crack in the clouds.This sense of fast-changing light brings the whole landscape to life, injecting movement into what otherwise might have been a static scene.
The white walls of the ruins on the steep bank on the right almost give the impression that light is shining from them. The clouds hang as if suspended over the forest and the leaves of trees – often restless in his other pictures – are quiet, though by no means lifeless. From a high dune, we look out over the flat land in the direction of Haarlem, the city in the distance.
This sizeable picture was almost certainly painted on commission and was designed to hang in a very large room. Cite this page as: Dr. Beth Harris and Dr. Steven Zucker, "Jacob van Ruisdael, Featured | Art that brings U.S. history to life, At-Risk Cultural Heritage Education Series. In this richly textured canvas, as in other landscapes of the subject, the artist arranges the buildings and rows of … Linen was an important fabric and to fetch the highest prices its natural beige colour needed to be bleached white. An interconnected world is not as recent as we think. From a high dune, we look out over the flat land in the direction of Haarlem, the city in the distance.
Images of African Kingship, Real and Imagined, Introduction to gender in renaissance Italy, Sex, Power, and Violence in the Renaissance Nude, Confronting power and violence in the renaissance nude, The conservator's eye: Taddeo Gaddi, Saint Julian, Florence in the Late Gothic period, an introduction, Giotto, Arena (Scrovegni) Chapel (part 1 of 4), Giotto, Arena (Scrovegni) Chapel (part 2 of 4), Giotto, Arena (Scrovegni) Chapel (part 3 of 4), Giotto, Arena (Scrovegni) Chapel (part 4 of 4), Andrea Pisano, Reliefs for the Florence Campanile, Siena in the Late Gothic, an introduction.