Tag Archives: Jacob van Ruisdael

#FineArtFriday: Two Watermills and an Open Sluice by Jacob van Ruisdael 1653

Jacob_Isaacksz._van_Ruisdael_-_Two_Watermills_and_an_Open_Sluice_-_WGA20479Artist: Jacob van Ruisdael  (1628/1629–1682)

Title: Two Watermills and an Open Sluice

Genre: landscape art

Date: 1653

Medium: oil on canvas

Dimensions: height: 664 mm (26.1 in)

Collection: Getty Center

What I Love about this painting:

This painting is the perfect writing prompt. Peaceful and serene, the scene shows us two watermills opposite each other on the stream, sharing the power of the water. These mills were examples of the highest technology of that time, and the families who owned them were prosperous middle-class people. Very likely they were literate, well-respected members of the local community.

Were these mills owned by the same family?

Or were they owned by rivals, competing to grind the grain produced by the local farmers? Is one a grist mill and the other a lumber mill? Or a weaver’s mill housing looms?

Was there a love story behind their being so close to each other, perhaps a Romeo and Juliet-style romance? (Tragedy averted, of course, or it wouldn’t be a romance.)

This is a wonderful painting, a window into the past.

About the artist, via Wikipedia, the free encyclopedia:

Jacob Isaackszoon van Ruisdael (Dutch pronunciation: [ˈjaːkɔp fɑn ˈrœyzˌdaːl] ; c. 1629 – 10 March 1682) was a Dutch painter, draughtsman, and etcher. He is generally considered the pre-eminent landscape painter of the Dutch Golden Age, a period of great wealth and cultural achievement when Dutch painting became highly popular.

Prolific and versatile, Ruisdael depicted a wide variety of landscape subjects. From 1646 he painted Dutch countryside scenes of remarkable quality for a young man. After a trip to Germany in 1650, his landscapes took on a more heroic character. In his late work, conducted when he lived and worked in Amsterdam, he added city panoramas and seascapes to his regular repertoire. In these, the sky often took up two-thirds of the canvas. In total he produced more than 150 Scandinavian views featuring waterfalls.

Ruisdael’s only registered pupil was Meindert Hobbema, one of several artists who painted figures in his landscapes. Hobbema’s work has at times been confused with Ruisdael’s. Ruisdael always spelt his name thus: Ruisdael, not Ruysdael.

Ruisdael’s work was in demand in the Dutch Republic during his lifetime. Today it is spread across private and institutional collections around the world; the National Gallery in London, the Rijksmuseum in Amsterdam, and the Hermitage Museum in St. Petersburg hold the largest collections. Ruisdael shaped landscape painting traditions worldwide, from the English Romantics to the Barbizon school in France, and the Hudson River School in the US, and influenced generations of Dutch landscape artists. [1]

To read more about this artist, go to Jacob van Ruisdael – Wikipedia

About this painting via Wikipedia, the free encyclopedia:

Two Water Mills with an Open Sluice, also known as Two Watermills and an Open SluiceTwo Undershot Water Mills with an Open Sluice is a 1653 painting by the Dutch Golden Age painter Jacob van Ruisdael. It is in the collection of the Getty Museum in Los Angeles.

The painting shows two working undershot water mills, with the major one being half-timbered with a cob-facade construction, tie beams, and vertical plank gable. This is characteristic of the water mills in the Bentheim area in Germany, to where Ruisdael had travelled in the early 1650s. This painting is one of six known variations on this theme and the only one that is dated.

Although other Western artists had depicted water mills before, Ruisdael was the first to make it the focal subject in a painting. Meindert Hobbema, Ruisdael’s pupil, started working on the water mills subject in the 1660s. Today Hobbema is more strongly associated with water mills than his teacher.

The painting is known by various names. The painting is called Two Water Mills with an Open Sluice in Seymour Slive‘s 2001 catalogue raisonné of Ruisdael, catalogue number 119. In his 2011 book on Ruisdael’s mills and water mills Slive calls it Two Undershot Water Mills with an Open Sluice. The Getty Museum calls it Two Watermills and an Open Sluice on their website, object number 82.PA.18. [2]


Credits and Attributions:

Wikipedia contributors, “Two Water Mills with an Open Sluice,” Wikipedia, The Free Encyclopedia, https://en.wikipedia.org/w/index.php?title=Two_Water_Mills_with_an_Open_Sluice&oldid=1160869306 (accessed November 16, 2023).

[2] Wikipedia contributors, “Jacob van Ruisdael,” Wikipedia, The Free Encyclopedia, https://en.wikipedia.org/w/index.php?title=Jacob_van_Ruisdael&oldid=1181677660 (accessed November 16, 2023).

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#FineArtFriday: The Huis Kostverloren on the Amstel by Jacob van Ruisdael ca.1660

About the Artist Via Wikipedia:

Ruisdael and his art should not be considered apart from the context of the incredible wealth and significant changes to the land that occurred during the Dutch Golden Age. In his study on 17th-century Dutch art and culture, Simon Schama remarks that “it can never be overemphasized that the period between 1550 and 1650, when the political identity of an independent Netherlands nation was being established, was also a time of dramatic physical alteration of its landscape”. Ruisdael’s depiction of nature and emergent Dutch technology are wrapped up in this. Christopher Joby places Ruisdael in the religious context of the Calvinism of the Dutch Republic. He states that landscape painting does conform to Calvin’s requirement that only what is visible may be depicted in art, and that landscape paintings such as those of Ruisdael have an epistemological value which provides further support for their use within Reformed Churches.

The art historian Yuri Kuznetsov places Ruisdael’s art in the context of the war of independence against Spain. Dutch landscape painters “were called upon to make a portrait of their homeland, twice re-won by the Dutch people – first from the sea and later from foreign invaders”. Jonathan Israel, in his study of the Dutch Republic, calls the period between 1647 and 1672 the third phase of Dutch Golden Age art, in which wealthy merchants wanted large, opulent and refined paintings, and civic leaders filled their town halls with grand displays containing republican messages.

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Artist: Jacob van Ruisdael  (1628/1629–1682)

Title: English: The Huis Kostverloren on the Amstel

Date: between 1660 and 1664

Medium: oil on canvas

Dimensions: Height: 63 cm (24.8 ″); Width: 75.5 cm (29.7 ″)

Current Location: Amsterdam Museum


Credits and Attributions:

The Huis Kostverloren on the Amstel by Jacob van Ruisdael [Public domain]

Wikipedia contributors, “Jacob van Ruisdael,” Wikipedia, The Free Encyclopedia, https://en.wikipedia.org/w/index.php?title=Jacob_van_Ruisdael&oldid=905931531 (accessed July 19, 2019).

Wikimedia Commons contributors, “File:SA 38217-Het Huis Kostverloren aan de Amstel2.jpg,” Wikimedia Commons, the free media repository, https://commons.wikimedia.org/w/index.php?title=File:SA_38217-Het_Huis_Kostverloren_aan_de_Amstel2.jpg&oldid=326210473 (accessed July 19, 2019).

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