2048
Jacob van RuisdaelLandschaft mit Wasserfall
Beschreibung
Jacob van Ruisdael
Landschaft mit Wasserfall
Öl auf Leinwand (doubliert). 101 x 86,5 cm.
Signiert unten links: vRuisdael.
Provenienz
Prinz René de Bourbon-Parme. – Slg. Lennert Hijne, Saltsöbden, Schweden. - Auktion Bukowski´s, Stockholm, 30.10.-1.11.1990, Lot 245 (als Allart van Everdingen). – Auktion Bukowski´s, Stockholm, 7.12.2018, Lot 428 (als Allart van Everdingen). – Privatsammlung, Vereinigte Staaten.
Ausstellungen
Nationalmuseum Stockholm, Holländska mästare i Svensk ägo (Holländische Meister in schwedischen Sammlungen), Stockholm 1967, Nr. 48.
Literatur
Alice Davies, Allart van Everdingen, Diss. Michigan 1973, New York 1978, S. 216-218, Abb. 276. – Alice Davies, Allart van Everdingen 1621-1675, First Painter of Scandinavian Landscape, Catalogue Raisonné, Doornspijk 2001, Abb. 196 (als Jacob van Ruisdael). - Seymour Slive, Jacob van Ruisdael: A Complete Catalogue of His Paintings, Drawings, and Etchings, New Haven u. London 2001, S. 237, Nr. 283.
„Er malte heimatliche und fremde Landschaften, besonders solche, in denen Wassermengen von einem Felsen zum anderen strömen und mit lautem Geräusch ins Tal fließen (…) Er konnte stürzendes und schäumendes Wasser so natürlich und klar malen, dass es wie echtes Wasser aussah,“ so Arnold Houbraken über Jakob van Ruisdaels Landschaften. Die naturgetreue Wiedergabe der Szenerie in Ruisdaels Landschaftsbildern ermöglicht dem Betrachter also ein synästhetisches Erlebnis, er sieht die Natur nicht nur, er meint auch, ihre Geräusche und Laute zu vernehmen und meint, in die Landschaft einzutauchen. Das Lob des Kunsthistoriografen des frühen 18. Jahrhundert verdeutlicht nicht nur die Stellung Jakob van Ruisdaels in der Geschichte der holländischen Landschaftsmalerei; es zeigt auch die Bedeutung der Darstellung von Wasserfällen in Ruisdaels Œuvre - tatsächlich stellen sie die größte Werkgruppe des Künstlers dar (Slive, op. cit., S. 152).
Was Houbraken meint, wird in dieser großformatigen Landschaft deutlich: Ruisdael lässt das Wasser frontal auf den Betrachter zuströmen, vorbei an großen und kleinen Felsen, an denen sich der Strom bricht. Wie überzeugend - und dabei ökonomisch - Ruisdael die Landschaft gestaltet, verdeutlich ein Element: Genau im Bildzentrum platziert er auf einem Hügel in der Ferne eine Burg, so dass der nächste und der entfernteste Punkt im Bild, das Wasser im Vordergrund und die Burg in der Ferne, auf der Mittelachse liegen und so die Weite der Landschaft erfahrbar wird.
Jakob van Ruisdael begann in den späten 1650er Jahren, Landschaften mit Wasserfällen zu malen, wohl angeregt von Allart van Everdingen, der mit skandinavischen Landschaften Erfolge in Amsterdam feierte. So erklärt sich auch, dass diese Landschaft lange Zeit für ein Werk van Everdingens gehalten worden ist.
Jacob van Ruisdael
Landscape with a Waterfall and a Castle on a Cliff
Oil on canvas (relined). 101 x 86.5 cm.
Signed lower left: vRuisdael.
Provenance
Prince René de Bourbon-Parme. – Collection of Lennert Hijne, Saltsöbden, Sweden. - Auctioned by Bukowski´s, Stockholm, 30.10.-1.11.1990, lot 245 (as Allart van Everdingen). – Auctioned by Bukowski´s, Stockholm, 07.12.2018, lot 428 (as Allart van Everdingen). – Private collection, United States.
Exhibitions
Nationalmuseum Stockholm, Holländska mästare i Svensk ägo (Dutch masters in Swedish collections), Stockholm 1967, no. 48.
Literature
Alice Davies, Allart van Everdingen, Diss. Michigan 1973, New York 1978, p. 216-218, illus. 276. – Alice Davies, Allart van Everdingen 1621-1675, First Painter of Scandinavian Landscape, Catalogue Raisonné, Doornspijk 2001, illus. 196 (as Jacob van Ruisdael). - Seymour Slive, Jacob Van Ruisdael: A Complete Catalogue of His Paintings, Drawings, and Etchings, New Haven & London 2001, p. 237, no. 283.
“He painted both native and foreign landscapes, but was especially fond of those in which he could depict water flowing over rocks and boulders, rushing into valleys with a tumultuous sound (…) He could paint water falling and foaming so naturally and clearly that it appeared to be real,” wrote Arnold Houbraken of Jakob van Ruisdael's landscapes. The striking realism of Ruisdael's landscapes grants the viewer a synaesthetic experience in which they not only see nature before them, but can almost hear its sounds and feel as if they are immersed within it. The praise which Ruisdael received from the 18th century art historian Houbraken not only illustrates his high standing within the history of Dutch landscape painting; it also shows the importance of waterfalls within his oeuvre - they are the most frequently occurring motif within the artist's works (Slive, op. cit., p. 152).
This large-format landscape exemplifies what Houbraken so admired in Ruisdael's works. The artist depicts the rushing torrent flowing straight towards the viewer, breaking over the stones and pebbles on its path. The castle on a hill in the far distance of the work illustrates how Ruisdael was able to compose his landscapes so convincingly, yet economically. The castle is placed in the centre of the image in the background, along the same axis as the stream in the foreground, thus creating a link between the furthest and nearest points within the composition and making the vastness of the landscape seem more tangible.
Jakob van Ruisdael began to paint landscapes with waterfalls in the late 1650s, probably inspired by Allart van Everdingen, who was successful with Scandinavian landscapes in Amsterdam. This also explains why this landscape was long considered to be a work by Allart van Everdingen.
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Jacob van Ruisdael
Landschaft mit Wasserfall
Öl auf Leinwand (doubliert). 101 x 86,5 cm.
Signiert unten links: vRuisdael.
Provenienz
Prinz René de Bourbon-Parme. – Slg. Lennert Hijne, Saltsöbden, Schweden. - Auktion Bukowski´s, Stockholm, 30.10.-1.11.1990, Lot 245 (als Allart van Everdingen). – Auktion Bukowski´s, Stockholm, 7.12.2018, Lot 428 (als Allart van Everdingen). – Privatsammlung, Vereinigte Staaten.
Ausstellungen
Nationalmuseum Stockholm, Holländska mästare i Svensk ägo (Holländische Meister in schwedischen Sammlungen), Stockholm 1967, Nr. 48.
Literatur
Alice Davies, Allart van Everdingen, Diss. Michigan 1973, New York 1978, S. 216-218, Abb. 276. – Alice Davies, Allart van Everdingen 1621-1675, First Painter of Scandinavian Landscape, Catalogue Raisonné, Doornspijk 2001, Abb. 196 (als Jacob van Ruisdael). - Seymour Slive, Jacob van Ruisdael: A Complete Catalogue of His Paintings, Drawings, and Etchings, New Haven u. London 2001, S. 237, Nr. 283.
„Er malte heimatliche und fremde Landschaften, besonders solche, in denen Wassermengen von einem Felsen zum anderen strömen und mit lautem Geräusch ins Tal fließen (…) Er konnte stürzendes und schäumendes Wasser so natürlich und klar malen, dass es wie echtes Wasser aussah,“ so Arnold Houbraken über Jakob van Ruisdaels Landschaften. Die naturgetreue Wiedergabe der Szenerie in Ruisdaels Landschaftsbildern ermöglicht dem Betrachter also ein synästhetisches Erlebnis, er sieht die Natur nicht nur, er meint auch, ihre Geräusche und Laute zu vernehmen und meint, in die Landschaft einzutauchen. Das Lob des Kunsthistoriografen des frühen 18. Jahrhundert verdeutlicht nicht nur die Stellung Jakob van Ruisdaels in der Geschichte der holländischen Landschaftsmalerei; es zeigt auch die Bedeutung der Darstellung von Wasserfällen in Ruisdaels Œuvre - tatsächlich stellen sie die größte Werkgruppe des Künstlers dar (Slive, op. cit., S. 152).
Was Houbraken meint, wird in dieser großformatigen Landschaft deutlich: Ruisdael lässt das Wasser frontal auf den Betrachter zuströmen, vorbei an großen und kleinen Felsen, an denen sich der Strom bricht. Wie überzeugend - und dabei ökonomisch - Ruisdael die Landschaft gestaltet, verdeutlich ein Element: Genau im Bildzentrum platziert er auf einem Hügel in der Ferne eine Burg, so dass der nächste und der entfernteste Punkt im Bild, das Wasser im Vordergrund und die Burg in der Ferne, auf der Mittelachse liegen und so die Weite der Landschaft erfahrbar wird.
Jakob van Ruisdael begann in den späten 1650er Jahren, Landschaften mit Wasserfällen zu malen, wohl angeregt von Allart van Everdingen, der mit skandinavischen Landschaften Erfolge in Amsterdam feierte. So erklärt sich auch, dass diese Landschaft lange Zeit für ein Werk van Everdingens gehalten worden ist.
Jacob van Ruisdael
Landscape with a Waterfall and a Castle on a Cliff
Oil on canvas (relined). 101 x 86.5 cm.
Signed lower left: vRuisdael.
Provenance
Prince René de Bourbon-Parme. – Collection of Lennert Hijne, Saltsöbden, Sweden. - Auctioned by Bukowski´s, Stockholm, 30.10.-1.11.1990, lot 245 (as Allart van Everdingen). – Auctioned by Bukowski´s, Stockholm, 07.12.2018, lot 428 (as Allart van Everdingen). – Private collection, United States.
Exhibitions
Nationalmuseum Stockholm, Holländska mästare i Svensk ägo (Dutch masters in Swedish collections), Stockholm 1967, no. 48.
Literature
Alice Davies, Allart van Everdingen, Diss. Michigan 1973, New York 1978, p. 216-218, illus. 276. – Alice Davies, Allart van Everdingen 1621-1675, First Painter of Scandinavian Landscape, Catalogue Raisonné, Doornspijk 2001, illus. 196 (as Jacob van Ruisdael). - Seymour Slive, Jacob Van Ruisdael: A Complete Catalogue of His Paintings, Drawings, and Etchings, New Haven & London 2001, p. 237, no. 283.
“He painted both native and foreign landscapes, but was especially fond of those in which he could depict water flowing over rocks and boulders, rushing into valleys with a tumultuous sound (…) He could paint water falling and foaming so naturally and clearly that it appeared to be real,” wrote Arnold Houbraken of Jakob van Ruisdael's landscapes. The striking realism of Ruisdael's landscapes grants the viewer a synaesthetic experience in which they not only see nature before them, but can almost hear its sounds and feel as if they are immersed within it. The praise which Ruisdael received from the 18th century art historian Houbraken not only illustrates his high standing within the history of Dutch landscape painting; it also shows the importance of waterfalls within his oeuvre - they are the most frequently occurring motif within the artist's works (Slive, op. cit., p. 152).
This large-format landscape exemplifies what Houbraken so admired in Ruisdael's works. The artist depicts the rushing torrent flowing straight towards the viewer, breaking over the stones and pebbles on its path. The castle on a hill in the far distance of the work illustrates how Ruisdael was able to compose his landscapes so convincingly, yet economically. The castle is placed in the centre of the image in the background, along the same axis as the stream in the foreground, thus creating a link between the furthest and nearest points within the composition and making the vastness of the landscape seem more tangible.
Jakob van Ruisdael began to paint landscapes with waterfalls in the late 1650s, probably inspired by Allart van Everdingen, who was successful with Scandinavian landscapes in Amsterdam. This also explains why this landscape was long considered to be a work by Allart van Everdingen.
Alte Kunst / Old Masters
Auktionsdatum
Lose: 2000 - 2155
Ort der Versteigerung
Neumarkt 3
Köln
50667
Germany
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