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 :. | Dorf mit den Wassermuhlen | kvarnen | Avenue at Middleharnis | allen vid middelharnis | Cottages beside a Track through a Wood |
Related Artists:
Herri met de Bles
(also known as Herri de Dinant, Herry de Patinir, and Civetta) (c. 1510 - c. 1555 - 1560) was a Flemish Northern Renaissance and Mannerist landscape painter. He is also defined as a eeMosan landscape painter active during the second third of the 16thcentury (i.e., second generation of landscape painters).ee Very little is positively known about the artist. He is believed to be a certain Herry de Patenir who joined Antwerp's Guild of St. Luke in 1535 as a painter and is also believed to be a court painter for the d'Este Dukes of Ferrara, where he ended his career known as "Il Civetta". He contributed, along with his possible-uncle Joachim Patinir, to a distinct style of Northern Renaissance landscape painting that combined small history or religious scenes into compositions defined by perspective and atmospheric effects. Also, along with a group of Antwerp-based followers of Hieronymus Bosch that included Jan Mandyn, Pieter Huys, and Jan Wellens de Cock, Met de Bles continued the tradition of fantastic imagery into northern Mannerism.
Stefano Torelli
Bologna 1712-St Petersburg 1784 was an Italian painter. He was born in Bologna. He studied first under his father, Felice Torelli, and then under Francesco Solimena. The future King of Poland, Augustus III, brought him to Dresden in 1740, where he painted altar-pieces and ceiling decorations, many destroyed in the Seven Years' War. He painted figures in Canaletto's twenty-nine views of Dresden (1741). In 1762 he was summoned to the Russian court where he painted ceilings in the Royal Palace, and some portraits, among the latter one of the Empress Elizabeth in armor. He was a clever caricaturist, and etched a few plates. He died in St. Petersburg.
john D.rockefeller
new york metropolian museum, cloisters collection