RUYSDAEL, Salomon van (* ca. 1602, Naarden, d. 1670, Haarlem) das Fährboot 1647 Öl auf Leinwand, 91 x 130,5 cm Musées Royaux des Beaux-Arts, Brüssel mit weitreichenden stilistischen Ähnlichkeiten in ihrer monochromatischen, tonalen Behandlung des Themas sind Salomon van Ruysdaels Flusslandschaften und die von Jan van Goyen aus den 1630er Jahren fast nicht zu unterscheiden. Doch um 1645 entdeckte der erstgenannte Künstler die bildhaften Möglichkeiten des Baumotivs in Kompositionen, durch die Arbeit seines viel berühmteren Neffen Jacob Isaacksz. Van Ruisdael, in dem dieses Element eine Schlüsselrolle spielt. Thi
4404 x 2992 px | 37,3 x 25,3 cm | 14,7 x 10 inches | 300dpi
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Dieses Bild kann kleinere Mängel aufweisen, da es sich um ein historisches Bild oder ein Reportagebild handel
RUYSDAEL, Salomon van (b. ca. 1602, Naarden, d. 1670, Haarlem) The Ferryboat 1647 Oil on canvas, 91 x 130, 5 cm Musées Royaux des Beaux-Arts, Brussels With far-reaching stylistic similarities in their monochromatic, tonal treatment of the subject, Salomon van Ruysdael's river landscapes and those of Jan van Goyen from the 1630s are almost indistinguishable. However, around 1645 the first-named artist discovered the pictorial possibilities of the tree motif in compositions, through the work of his much more famous nephew Jacob Isaacksz. van Ruisdael, in which this element plays a key role. This gave his variations on the theme a new impulse, and between 1645 and 1655 he painted a series of peaceful, limpid views with which he reached the summit of his art. With the cautious expansion of his palette and the more self confident style typical of these years, his work is also much more distinctively his own. The compositional structure to which this landscape owes its attractiveness is of a bold simplicity. A quarter of the way up the picture the horizontal axis intersects a vertical axis provided by the dark silhouette of a group of trees rising up on the opposite river bank. This divides the picture into two zones, of almost identical size, but in formal contrast to each other. In the left half each individual motif, under a highly atmospheric sky, bathes in an aura of lightness and weightlessness, contrasting with the right half, where mass and volume are piled up in the form of a farmstead, overshadowed by the tree group. Within this constellation even the ferry in the left foreground, laden low with a four-in-hand and a large number of passengers, appears like a fallen leaf carried along effortlessly by the river, the connecting feature stretching through this landscape. Within Salomon van Ruysdael's work, catalogued by Wolfgang Stechow, this painting represents an exception from his otherwise typical use of diagonals in his compositions. But whenever in later w
