Dutch Baroque Era Painter, ca.1628-1682 Ruysdael's favorite subjects are simple woodland scenes, similar to those of Everdingen and Hobbema. He is especially noted as a painter of trees, and his rendering of foliage, particularly of oak leaf age, is characterized by the greatest spirit and precision. His views of distant cities, such as that of Haarlem in the possession of the marquess of Bute, and that of Katwijk in the Glasgow Corporation Galleries, clearly indicate the influence of Rembrandt. He frequently painted coast-scenes and sea-pieces, but it is in his rendering of lonely forest glades that we find him at his best. The subjects of certain of his mountain scenes seem to be taken from Norway, and have led to the supposition that he had traveled in that country. We have, however, no record of such a journey, and the works in question are probably merely adaptations from the landscapes of Van Everdingen, whose manner he copied at one period. Only a single architectural subject from his brush is known--an admirable interior of the New Church, Amsterdam. The prevailing hue of his landscapes is a full rich green, which, however, has darkened with time, while a clear grey tone is characteristic of his seapieces. The art of Ruysdael, while it shows little of the scientific knowledge of later landscapists, is sensitive and poetic in sentiment, and direct and skillful in technique. Figures are sparingly introduced into his compositions, and such as occur are believed to be from the pencils of Adriaen van de Velde, Philip Wouwerman, and Jan Lingelbach. Unlike the other great Dutch landscape painters, Ruysdael did not aim at a pictorial record of particular scenes, but he carefully thought out and arranged his compositions, introducing into them an infinite variety of subtle contrasts in the formation of the clouds, the plants and tree forms, and the play of light. He particularly excelled in the painting of cloudscapes which are spanned dome-like over the landscape, and determine the light and shade of the objects. Goethe lauded him as a poet among painters, and his work shows some of the sensibilities the Romantics would later celebrate.  Related Paintings of Jacob van Ruisdael :. | Ray of Sunlight | Dune landscape with a rabbit hunt | View of Haarlem with Bleaching Grounds | Landscape with a Sluice Gate | Winter Landscape with a Lamp-post and and a Distant view of Haarlem |
Related Artists:
Christian Ernst Bernhard Morgenstern
(29 September 1805 - 12 Februar 1867) was a German landscape painter. Morgenstern is regarded as one of the pioneers in Germany of early Realism in painting. He gained this reputation in Hamburg 1826-1829 together with his contemporary Adolph Friedrich Vollmer while both were still studying; from 1830 onwards, Morgenstern, together with Friedrich Wasmann, Johan Christian Dahl and Adolph Menzel, introduced Munich to Realist painting. Morgenstern was born in Hamburg as one of six children to a painter of miniatures, Johann Heinrich Morgenstern (1769-1813). After the early death of his father he was placed as an apprentice in the graphic workshop of the brothers Suhr. Cornelius Suhr took the young Morgenstern as his servant on a two-year journey through Germany to publicise the panorama prints which the brothers Suhr produced. 1822 followed another long journey to St. Petersburg, where they stayed for a year and to Moscow. On their return to Hamburg Morgenstern succeeded in leaving Suhr (Vollmer took his place). He became a student of the Hamburg painter Siegfried Bendixen with whom he stayed from 1824 to 1827, then continued his studies at the Royal Danish Academy of Fine Arts in Copenhagen (1827-1828) and undertook study journeys through Sweden and Norway. Bendixen introduced him to the wealthy aristocrat and supporter of the arts, Carl Friedrich von Rumohr, patron to many young Hamburg artists, on whose estate in Holstein he spent several summers. In 1830 Morgenstern went to Munich on Ruhmor's advice. He settled there permanently while undertaking extensive yearly study trips: for the first years through Bavaria, then in the summer of 1836 and in the following summers to the Alsace as guest of a patron of the arts. The winter 1839/40 he returned to Hamburg to stay with his mother. In 1841 he visited Venice and Trieste together with the landscape painter Eduard Schleich and in 1843, and again in 1846 the central Alps. In the summer of 1850 he stayed on Heligoland.
Palmezzano, Marco
Italian, Approx. 1459-1539 .Italian painter. His earliest work was probably on the fresco decoration (c. 1480-84) of the vault of the sacristy of the treasury in the Santa Casa, Loreto, designed by Melozzo da Forl?. He then probably went to Rome, where he may have painted the fresco in the apse of Santa Croce in Gerusalemme (Longhi). In 1493 Palmezzano is documented working with Melozzo on the fresco decoration in the Feo Chapel,
Jan Bogumil Plersch
painted Tadeusz Kosciuszko falling wounded in the battle of Maciejowice in 1794