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.  Related Paintings of Meindert Hobbema :. | A Watermill beside a Woody Lane | Village with Water Mill Among Trees | Avenue at Middelharnis | The Avenue at Middlehamis | Windmill at the Riverside |
Related Artists:
John sturgess
fl.1864-1903 was a hunting and racing artist and lithographer who worked mainly for the Illustrated London News between 1875 and 1885, and also exhibited widely in the London galleries, in particular at the Royal Society of British Artists and also at the Royal Hibernian Society in Dublin. He was known for being an accomplished illustrator of books and magazines, but is probably best remembered for his portrait of Blair Athol, the winner of the Derby in 1864.
James-Goodwyn Clonney
British/American, 1812-1867, American painter. He was one of the first generation of American genre painters. His earliest datable work includes two lithographs of urban views and images of birds and animals published in New York between 1830 and 1835. He studied at the National Academy of Design, New York, and exhibited there periodically between 1834 and 1852. The first genre painting he exhibited at the National Academy was Militia Training (1841; Philadelphia, PA Acad. F.A.), although another example, In the Woodshed (1838; Boston, MA, Mus. F.A.), predates it. He also exhibited at the Pennsylvania Academy of Fine Arts (1845 and 1847) and at the Apollo Association and American Art-Union (1841-50).
Edouard Richter
French, 1844-1913