Jacob van Ruisdael

1 Life

Jacob Isaackszoon van Ruisdael (Dutch pronunciation:

[jakp vn rysdal]; 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.

Prolic 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 panora- A View of Egmond aan Zee (1640) by Salomon van
mas and seascapes to his regular repertoire. In these, the Ruysdael
sky often took up two-thirds of the canvas. In total he
produced more than 150 Scandinavian views featuring
waterfalls.
Ruisdaels only registered pupil was Meindert Hobbema,
one of several artists who painted gures in his landscapes. Hobbemas work has at times been confused with
Ruisdaels. There is diculty in attributing Ruisdaels
work, which has not been helped by the fact that three
members of his family were also landscape painters, some
of whom spelled their name Ruysdael": his father Isaack
van Ruisdael, his well-known uncle Salomon van Ruys- A View of Egmond aan Zee (c. 1650) by Jacob van
dael, and his cousin, confusingly called Jacob van Ruys- Ruisdael
dael.
Jacob Isaackszoon van Ruisdael was born in Haarlem in
1628 or 1629[upper-alpha 1] into a family of painters, all
landscapists. The number of painters in the family, and
the multiple spellings of the Ruisdael name, have hampered attempts to document his life and attribute his
works.[2]

Ruisdaels 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 inuenced generations of Dutch
landscape artists.

The name Ruisdael is connected to a castle, now lost,

in the village of Blaricum. The village was the home
of Jacobs grandfather, the furniture maker Jacob de
Goyer. When De Goyer moved away to Naarden, three
of his sons changed their name to Ruysdael or Ruisdael,
probably to indicate their origin.[upper-alpha 2] Two of De
Goyers sons became painters: Jacobs father Isaack van
Ruisdael and his well-known uncle Salomon van Ruysdael.[upper-alpha 3] Jacob himself always spelled his name
with an i,[8] while his cousin, Salomons son Jacob Salomonszoon van Ruysdael, also a landscape artist, spelled
his name with a y.[9] Jacobs earliest biographer, Arnold
Houbraken, called him Jakob Ruisdaal, and claimed the
name resulted from his specialty in waterfalls, namely the
ruis (rustling noise of water) falling into a daal (dale)
where it foams out into a pond or wider river.[10]
1

LIFE

It is not known whether Ruisdaels mother was Isaack

van Ruisdaels rst wife, whose name is unknown, or his
second wife, Maycken Cornelisdochter. Isaack and Maycken married on 12 November 1628.[11][12][upper-alpha 4]
Ruisdaels teacher is also unknown.[14] It is often assumed
Ruisdael studied with his father and uncle, but there is
no archival evidence for this.[15] He appears to have been
strongly inuenced by other contemporary local Haarlem
landscapists, most notably Cornelis Vroom and Allaert
van Everdingen.[16]
The earliest date that appears on Ruisdaels paintings
and etchings is 1646.[17][upper-alpha 5] Two years after this
date he was admitted to membership of the Haarlem
Guild of St. Luke.[11] By this time landscape paintings
were as popular as history paintings in Dutch households, though at the time of Ruisdaels birth, history
paintings appeared far more frequently. This growth in
popularity of landscapes continued throughout Ruisdaels
career.[19][upper-alpha 6]
Around 1657, Ruisdael moved to Amsterdam, by then a
prosperous city which was likely to have oered a bigger
market for his work. His fellow Haarlem painter Allaert
van Everdingen had already moved to Amsterdam and
found a market there. Ruisdael lived and worked in Amsterdam for the rest of his life.[21] In 1668, his name appears as a witness to the marriage of Meindert Hobbema,
his only registered pupil, a painter whose works have been
confused with Ruisdaels own.[21][22][23][24]
For a landscape artist, it seems Ruisdael travelled relatively little: to Blaricum, Egmond aan Zee, and Rhenen
in the 1640s, with Nicolaes Berchem to Bentheim
and Steinfurt just across the border in Germany in
1650,[14] and possibly with Hobbema across the German border again in 1661, via the Veluwe, Deventer and
Ootmarsum.[25] Despite Ruisdaels numerous Norwegian
landscapes, there is no record of him having travelled to
Scandinavia.[26]

A View of Burg Bentheim (c. 1656) Nicolaas Berchem

There is some speculation that Ruisdael was also a doctor.
In 1718, his biographer Houbraken reports that he studied medicine and performed surgery in Amsterdam.[10]
Archival records of the 17th century show the name Jacobus Ruijsdael on a list of Amsterdam doctors, albeit crossed out, with the added remark that he earned
his medical degree on 15 October 1676 in Caen, northern France.[27] Various art historians have speculated that
this was a case of mistaken identity. Pieter Scheltema
suggests it was Ruisdaels cousin who appeared on the
record.[28] The Ruisdael expert Seymour Slive argues that
the spelling uij is not consistent with Ruisdaels own
spelling of his name, that his unusually high production
suggests there was little time to study medicine, and that
there is no indication in any of his art that he visited northern France. However, Slive is willing to accept that Ruisdael may still have been a doctor.[27] In 2013, Jan Paul
Hinrichs agreed that the evidence is inconclusive.[29]
Ruisdael was not Jewish. Slive reports that, because of
Ruisdaels depiction of a Jewish cemetery and various
biblical names in the Ruisdael family, he often heard
speculation that Ruisdael must surely be Jewish.[30] The
evidence shows otherwise.[30] Ruisdael requested that he
be baptised at the Calvinist Reformed Church in Amsterdam, and he was buried in the Saint Bavos Church,
Haarlem, a Protestant church at that time.[31][32] His uncle Salomon van Ruysdael belonged to the Young Flemish
subgroup of the Mennonite congregation, one of several
types of Anabaptists in Haarlem, and it is probable that
Ruisdaels father was also a member there.[33] His cousin
Jacob was a registered Mennonite in Amsterdam.[34]
Ruisdael did not marry. According to Houbraken this was
to reserve time to serve his old father.[35] It is not known
what Ruisdael looked like, as no known portrait or selfportrait of him exists.[8][upper-alpha 7]

A View of Burg Bentheim (1651) by Jacob van Ruisdael

The art historian Hendrik Frederik Wijnman disproved

the myth that Ruisdael died a poor man, supposedly in the
old mens almshouse in Haarlem. Wijnman showed that
the person who died there was in fact Ruisdaels cousin,
Jacob Salomonszoon.[39] Although there is no record of
Ruisdael owning land or shares, he appears to have lived
comfortably, even after the economic downturn of the

2.2

Middle period

disaster year 1672.[40][upper-alpha 8] His paintings were valued fairly highly. In a large sample of inventories between 1650 and 1679 the average price for a Ruisdael
was 40 guilders, compared to an average of 19 guilders
for all attributed paintings.[41] In a ranking of contemporary Dutch painters based on price-weighted frequency
in these inventories, Ruisdael ranks seventh; Rembrandt
ranks rst.[42]

3
light on a sandy path.[46] The resulting heroic eect is enhanced by the large size of the canvas, so unexpected in
the work of an inexperienced painter according to Irina
Sokolova, curator at the Hermitage Museum.[49] The art
historian Hofstede de Groot said of Dune Landscape: It
is hardly credible that it should be the work of a boy of
seventeen.[50]

Ruisdael died in Amsterdam on 10 March 1682. He

was buried 14 March 1682 in Saint Bavos Church,
Haarlem.[43]

Work

Main article: List of paintings by Jacob van Ruisdael

View of Naarden with the Church at Muiderberg in the Distance
(1647)

2.1

Early years

Ruisdaels rst panoramic landscape, View of Naarden

with the Church at Muiderberg in the Distance, dates from
1647. The theme of an overwhelming sky and a distant
town, in this case the birthplace of his father, is one he
returned to in his later years.[46]
For unknown reasons, Ruisdael almost entirely stopped
dating his work from 1653. Only ve works from the
1660s have a, partially obscured, year next to his signature; none from the 1670s and 1680s have a date.[51] Dating subsequent work has therefore been largely based on
detective work and speculation.[9]

Dune Landscape (1646)

Ruisdaels work from c. 1646 to the early 1650s, when

he was living in Haarlem, is characterised by simple motifs and careful and laborious study of nature: dunes,
woods, and atmospheric eects. By applying heavier
paint than his predecessors, Ruisdael gave his foliage a
rich quality, conveying a sense of sap owing through
branches and leaves.[44] His accurate rendering of trees
was unprecedented at the time: the genera of his trees
are the rst to be unequivocally recognisable by modernday botanists.[45] His early sketches introduce motifs
that would return in all his work: a sense of spaciousness and luminosity, and an airy atmosphere achieved
through pointillist-like touches of chalk.[46] Most of his
thirty black chalk sketches that survive date from this
period.[47][48]
An exemplar of Ruisdaels early style is Dune Landscape,
one of the earliest works, dated 1646. It breaks with the
classic Dutch tradition of depicting broad views of dunes
that include houses and trees anked by distant vistas.
Instead, Ruisdael places tree-covered dunes prominently
at centre stage, with a cloudscape concentrating strong

All thirteen known Ruisdael etchings come from his early

period, with the rst one dated 1646. It is unknown who
taught him the art of etching. No etchings exist signed by
his father, his uncle, or his fellow Haarlem landscapist
Cornelis Vroom, who inuenced his other work. His
etchings show little inuence from Rembrandt, either in
style or technique. Few original impressions exist; ve
etchings survive in only a single impression. The rarity of
prints suggests that Ruisdael considered them trial essays,
which did not warrant large editions.[52] The etching expert Georges Duplessis singled out Graineld at the Edge
of a Wood and The Travellers as unrivalled illustrations
of Ruisdaels genius.[53]

2.2 Middle period

Following Ruisdaels trip to Germany, his landscapes
took on a more heroic character, with forms becoming
larger and more prominent.[54] A view of Bentheim Castle, dated 1653, is just one of a dozen of Ruisdaels depictions of a particular castle in Germany, almost all of
which pronounce its position on a hilltop. Signicantly,
Ruisdael made numerous changes to the castles setting
(it is actually on an unimposing low hill) culminating in
a 1653 version which shows it on a wooded mountain.[55]

WORK

scape with a River, dateable to the late 1670s. This

portrays a rugged range with the highest peak in the
clouds.[69] Ruisdaels subjects became unusually varied.
The art historian Wolfgang Stechow identied thirteen
themes within the Dutch Golden Age landscape genre,
and Ruisdaels work encompasses all but two of them,
excelling at most: forests, rivers, dunes and country
roads, panoramas, imaginary landscapes, Scandinavian
waterfalls, marines, beachscapes, winter scenes, town
views, and nocturnes. Only the Italianate and foreign
landscapes other than Scandinavian are absent from his
oeuvre.[70][71]

The Jewish Cemetery (c. 165455)

These variations are considered by art historians to be evidence of Ruisdaels compositional skills.[56][upper-alpha 9]
On his trip to Germany Ruisdael encountered water mills,
which he turned into a principal subject for painting, the
rst artist to ever do so.[58] Two Water Mills with an Open
Sluice, dated 1653, is a prime example.[59] The ruins of
Egmont Castle near Alkmaar were another favourite subject of Ruisdaels[60] and feature in The Jewish Cemetery,
of which he painted two versions.[61] With these, Ruisdael pits the natural world against the built environment,
which has been overrun by the trees and shrubs surrounding the cemetery.[62]
Ruisdaels rst Scandinavian views contain big rs,
rugged mountains, large boulders and rushing torrents.[63]
Though convincingly realistic, they are based on previous art works, rather than on direct experience. There is
no record that Ruisdael made any trip to Scandinavia, although fellow Haarlem painter van Everdingen had travelled there in 1644 and had popularised the subgenre.[64]
Ruisdaels work soon outstripped van Everdingens nest
eorts.[65] In total Ruisdael produced more than 150
Scandinavian views featuring waterfalls,[26] of which
Waterfall in a Mountainous Landscape with a Ruined Castle, c. 16651670, is seen as his greatest by Slive.[66]

View of Haarlem with Bleaching Fields (c. 1665)

Slive nds it appropriate that a windmill is the subject

of one of Ruisdaels most famous works. Windmill at
Wijk bij Duurstede, dated 1670, shows Wijk bij Duurstede, a riverside town about 20 kilometres (12 mi) from
Utrecht, with a dominant cylindrical windmill.[69] In this
composition, Ruisdael united typical Dutch elements of
low-lying land, water and expansive sky, so that they converge on the equally characteristic Dutch windmill.[72]
The paintings enduring popularity is evidenced by card
sales in the Rijksmuseum, with the Windmill ranking
third after Rembrandts Night Watch and Vermeer's View
of Delft.[9] Windmills featured throughout Ruisdaels entire career.[73]

In this period Ruisdael started painting coastal scenes and

sea-pieces, inuenced by Simon de Vlieger and Jan Porcellis.[67] Among the most dramatic is Rough Sea at a
Jetty, with a restricted palette of only black, white, blue
and a few brown earth colours.[66] However, forest scenes
remain a subject of choice, such as the Hermitages most
famous Ruisdael, A Wooded Marsh, dated c. 1665, which
depicts a primeval scene with broken birches and oaks, Various panoramic views of the Haarlem skyline and its
and branches reaching for the sky amidst an overgrown bleaching grounds appear during this stage, a specic
genre called Haerlempjes,[21] with the clouds creating varpond.[68]
ious gradations of alternating bands of light and shadow
towards the horizon. The paintings are often dominated
by Saint Bavos Church, in which Ruisdael would one day
2.3 Later years
be buried.[69]
During Ruisdaels last period he began to depict moun- While Amsterdam does feature in his work, it does so
tain scenes, such as Mountainous and Wooded Land- relatively rarely given that Ruisdael lived there for over

2.5

Legacy

25 years. It does feature in his only known architectural 2.5

subject, a drawing of the interior of the Old Church,[74] as
well as in views of the Dam, and the Panoramic View of
the Amstel Looking towards Amsterdam, one of Ruisdaels
last paintings.[75][76]

Legacy

Figures are introduced sparingly into Ruisdaels compositions, and are by this period rarely from his own
hand[upper-alpha 10] but executed by various artists, including his pupil Meindert Hobbema, Nicolaes Berchem,
Adriaen van de Velde, Philips Wouwerman, Jan Vonck,
Thomas de Keyser, Gerard van Battum and Jan Lingelbach.[25][80]

2.4

Attributions

Landscape with Windmills near Haarlem (1651) by

Jacob van Ruisdael

Landscape with Windmills near Haarlem (1830) by John

Constable
Signature on Landscape with Waterfall in the 1660s

In his 2001 catalogue raisonn, Slive attributes 694 paintings to Ruisdael and lists another 163 paintings with dubious or, he believes, incorrect attribution.[81] There are
three main reasons why there is uncertainty over whose
hand painted various Ruisdael-style landscapes. Firstly,
four members of the Ruysdael family were landscapists
with similar signatures, some of which were later fraudulently altered into Jacobs.[82] This is further complicated
by the fact that Ruisdael used variations of his signature. This typically reads JvRuisdael or the monogram
JVR,[25][83] sometimes using a small italic 's and sometimes a Gothic long 's, such as on Landscape with Waterfall.[84] Secondly, many 17th century landscape paintings are unsigned and could be from pupils or copyists.[85]
Finally, fraudsters imitated Ruisdaels for nancial gain,
with the earliest case reported by Houbraken in 1718:
a certain Jan Grier the Elder could imitate Ruisdaels
style so well that he often sold them for real Ruisdaels,
especially with gurines added in the style of the artist
Wouwerman.[80] There is no large-scale systematic approach to ascertaining Ruisdaels attributions, unlike the
forensic science used to nd the correct attributions of
Rembrandts paintings through the Rembrandt Research
Project.[86]

Ruisdael has shaped landscape painting traditions from

the English Romantics to the Barbizon school in France,
and the Hudson River School in the US, as well as generations of Dutch landscape artists.[87] Among the English artists inuenced by Ruisdael are Thomas Gainsborough, J. M. W. Turner, and John Constable. Gainsborough drew, in black chalk and grey wash, a replica of
a Ruisdael in the 1740snow both paintings are housed
in the Louvre in Paris.[88] Turner made many copies of
Ruisdaels and even painted fantasy views of a nonexistent
port he called Port Ruysdael.[89] Constable also copied
various drawings, etchings and paintings by Ruisdael, and
was a great admirer from a young age.[90] It haunts my
mind and clings to my heart, he wrote after seeing a
Ruisdael.[91] However, he thought Jewish Cemetery was
a failure, because he considered that it attempted to convey something outside the reach of art.[61]
In the 19th century, Vincent van Gogh acknowledged
Ruisdael as a major inuence, calling him sublime, but at
the same time saying it would be a mistake to try and copy
him.[92] Van Gogh had two Ruisdael prints, The Bush and
a Haerlempje, on his wall,[93] and thought the Ruisdaels
in the Louvre were magnicent, especially The Bush,
The Breakwater and The Ray of Light".[94] His experience
of the French countryside was informed by his memory
of Ruisdaels art.[95] Van Goghs contemporary Claude
Monet is also said to owe Ruisdael a debt.[96] Even Piet

WORK

Mondriaan's minimalism has been traced back to Ruis- etchings were exhibited, rst at the Mauritshuis in The
daels panoramas.[96]
Hague, then, in 1982, at the Fogg Museum in Cambridge,
[88]
Massachusetts.
In 2006, the Royal Academy in LonAmong art historians and critics, Ruisdaels reputation
don
hosted
a
Ruisdael
Master of Landscape exhibition,
has had its ups and downs over the centuries. The rst
displaying
works
from
over
fty collections.[105][106]
account, in 1718, is from Houbraken, who waxed lyrical over the technical mastery which allowed Ruisdael
to realistically depict water in waterfalls and the sea.[35]
In 1781, Sir Joshua Reynolds, founder of the Royal
Academy, admired the freshness and force of Ruisdaels
landscapes.[97] A couple of decades later other English
critics were less impressed. In 1801, Henry Fuseli, professor at the Royal Academy, expressed his contempt for
the entire Dutch School of Landscape, dismissing it as
no more than a transcript of the spot, a mere enumeration of hill and dale, clumps of trees.[98] Of note is
that one of Fuselis students was Constable, whose admiration for Ruisdael remained unchanged.[90] Around the
same time in Germany, the writer, statesman and scientist
Johann Wolfgang von Goethe lauded Ruisdael as a thinking artist, even a poet,[99] saying he demonstrates remarkable skill in locating the exact point at which the creative faculty comes into contact with a lucid mind.[100]
John Ruskin however, in 1860, raged against Ruisdael
and other Dutch Golden Age landscapists, calling their
landscapes places where we lose not only all faith in religion but all remembrance of it.[101] In 1915, the Dutch
art historian Abraham Bredius called his compatriot not
so much a painter as a poet.[102]

2.6 Interpretation

Waterfall in a Mountainous Landscape with a Ruined Castle (c.

16651670)

There are no 17th century documents to indicate, either at rst or second hand, what Ruisdael intended to
convey through his art.[8] While The Jewish Cemetery
is universally accepted as an allegory for the fragility
of life,[61][107][108][109] how other works should be interpreted is much disputed. At one end of the spectrum is
Henry Fuseli, who contends they have no meaning at all,
and are simply a depiction of nature.[98] At the other end
is Franz Theodor Kugler who sees meaning in almost everything: They all display the silent power of Nature,
who opposes with her mighty hand the petty activity of
man, and with a solemn warning as it were, repels his
encroachments.[110]

More recent art historians have rated Ruisdael highly.

Kenneth Clark described him as the greatest master
of the natural vision before Constable.[103] Waldemar
Januszczak nds him a marvellous storyteller. Januszczak
does not consider Ruisdael the greatest landscape artist
of all time, but is especially impressed by his works as a
teenager: a prodigy whom we should rank at number 8
or 9 on the Mozart scale.[96] Slive states Ruisdael is acknowledged by general consent, as the pre-eminent landscapist of the Golden Age of Dutch art.[44]
In the middle of the spectrum are scholars such as E. John
Ruisdael really doesn't deserve to be underrated. ..[H]e Walford, who sees the works as not so much bearers of
was a prodigy whom we should rank at number 8 or 9 on narrative or emblematic meanings but rather as images reecting the fact that the visible world was essentially perthe Mozart scale.
ceived as manifesting inherent spiritual signicance.[111]
The Guardian art critic Waldemar Januszczak[96]
Walford advocates abandoning the notion of disguised
symbolism.[112] All of Ruisdaels work can be interRuisdael is now seen as the leading artist of the classical preted according to the religious world view of his time:
phase in Dutch landscape art, which built upon the real- nature serves as the rst book of God, both because of
ism of the previous tonal phase. The tonal phase sug- its inherent divine qualities and because of Gods obvious
gested atmosphere through the use of tonality, while the concern for man and the world. The intention is spiritual,
classical phase strived for a more grandiose eect, with not moral.[113]
paintings built up through a serious of vigorous contrasts
Andrew Graham-Dixon asserts all Dutch Golden Age
of solid form against the sky, and of light against shade,
landscapists could not help but search everywhere for
with a tree, animal, or windmill often singled out.[104]
meaning. He says of the windmill in The Windmill at
Although many of Ruisdaels works were on show in the Wijk bij Duurstede that it symbolises the sheer hard work
Art Treasures Exhibition, Manchester 1857, and various needed to keep Holland above water and to safeguard the
other grand exhibitions across the world since, it was not future of the nations children. The symmetries in the
until 1981 that an exhibition was solely dedicated to Ruis- landscapes are reminders to fellow citizens always to redael. Over fty paintings and thirty-ve drawings and main on the straight and narrow.[114] Slive is more re-

7
luctant to read too much into the work, but does put The
Windmill in its contemporary religious context of mans
dependence on the spirit of the Lord for life.[115] With
regards to interpreting Ruisdaels Scandinavian paintings,
he says My own view is that it strains credulity to the
breaking point to propose that he himself conceived of all
his depictions of waterfalls, torrents and rushing streams
and dead trees as visual sermons on the themes of transcience and vanitas.[63]

2.7

Collections

Winter Landscape with a Watermill (c. 1660s)

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.[127] Ruisdaels depiction of nature and emergent Dutch technology are wrapped up in this.[127] Christopher Joby places
Ruisdael in the religious context of the Calvinism of the
Dutch Republic. He states that landscape painting does
conform to Calvins requirement that only what is visible
Dunes by the Sea (1648)
may be depicted in art, and that landscape paintings such
as those of Ruisdael have an epistemological value which
Ruisdaels are scattered across collections globally, both provides further support for their use within Reformed
private and institutional. The most notable collections are Churches.[128]
at the National Gallery in London, which holds twenty
paintings;[116] the Rijksmuseum in Amsterdam, which The art historian Yuri Kuznetsov places Ruisdaels art in
holds sixteen paintings;[117] and the Hermitage Museum the context of the war of independence against Spain.
in Saint Petersburg, which holds nine.[118] In the US, the Dutch landscape painters were called upon to make a
Metropolitan Museum of Art in New York has ve Ruis- portrait of their homeland, twice rewon by the Dutch
rst from the sea and later from foreign
daels in its collection,[119] and the J. Paul Getty Museum people [129]
invaders.
Jonathan Israel, in his study of the Dutch
[120]
in California has three.
Republic, calls the period between 1647 and 1672 the
On occasion a Ruisdael changes hands. In 2014, Dunes third phase of Dutch Golden Age art, in which wealthy
by the Sea was auctioned at Christies in New York, merchants wanted large, opulent and rened paintings,
and realised a price of $1,805,000.[121] Of his surviv- and civic leaders lled their town halls with grand dising drawings, 140 in total,[122] the Rijksmuseum,[123] the plays containing republican messages.[130]
Teylers Museum in Haarlem,[124] Dresdens KupferstichKabinett,[15] and the Hermitage each hold signicant As well, ordinary middle class Dutch people began buycreating a high demand for
collections.[125] Ruisdaels rare etchings are spread across ing art for the rst time,
[131]
This demand was met by
paintings
of
all
kinds.
institutions. No collection holds a print of each of the
[132][upper-alpha 11]
enormous
painter
guilds.
Master painters
thirteen etchings. Of the ve unique prints, the British
set
up
studios
to
produce
large
numbers
of paintings
Museum holds two, two are in the Albertina in Vienna,
[upper-alpha 12]
quickly.
Under
the
masters
direction,
studio
[126]
and one is in Amsterdam.
members would specialise in parts of a painting, such as
gures in landscapes, or costumes in portraits and history paintings.[137][upper-alpha 13] Masters would sometimes
3 Context
add a few touches to authenticate a work mostly done by
pupils, to maximise both speed and price.[138] Numerous
Ruisdael and his art should not be considered apart art dealers organised commissions on behalf of patrons,
from the context of the incredible wealth and signi- as well as buying uncommissioned stock to sell on.[139]
cant changes to the land that occurred during the Dutch Landscape artists did not depend on commissions in the
Golden Age. In his study on 17th-century Dutch art way most painters had to do,[140] and could therefore paint

REFERENCES

for stock. In Ruisdaels case, it is not known whether he [11] Based on records of membership of the Guild of Saint
Luke, it is estimated there was one painter for every 2,000
kept stock to sell directly to customers, or sold his work
to 3,000 inhabitants, compared to every 10,000 in Renaisthrough dealers, or both.[141] Art historians only know of
[upper-alpha 14]
sance Italy.[133] A total of ve million paintings were proone commission,
a work for the wealthy Amduced in the Dutch Republic in the 17th century.[132] Slive
sterdam burgomaster Cornelis de Grae, jointly painted
says there were hundreds of landscapists during Ruisdaels
with Thomas de Keyser.[141][upper-alpha 15]
[134]
time.

Footnotes

[1] This is inferred from a document dated 9 June 1661 in

which Ruisdael states to be 32 years old.[1]
[2] While in modern Dutch the uy spelling is only preserved in names and the ui is dominant, before modern
spelling regulations the uy was spelled interchangeably
with uij, with ij in combination just being another way
to represent y, and ui being shorthand for uij.[3] The
long list of common spellings of the Ruisdael name over
the centuries includes uy, uij, and ui.[4]
[3] Unlike his other family members, his uncle Salomon is
well-known today and has works on display in, for instance, the National Gallery in London and the National
Gallery of Art in Washington D.C.[5][6][7]
[4] To add to the name confusion, Jacobs aunt, wife of Salomon, also was called Maycken.[13]
[5] It was unusual that signed and dated works of an artist
were created before matriculation in a guild.[18]
[6] Though most popular, landscape painting was still not
seen as the pinnacle of painting. In his 1678 treatise on
painting, painter-writer Samuel van Hoogstraten reserved
top spot in the hierarchy of genres for history painting.[20]
[7] The Dutch coee and tea company De Zuid-Hollandsche
Koe- en Theehandel published picture books in the
1920s with portraits of famous gures from Dutch history
and the 1926 edition showed a portrait of Jacob Isaaksz.
Ruisdael (sic).[36] It is not known where the coee and
tea company got the image from. Two 19th century sculptures, one on the outside wall of the Hamburger Kunsthalle built in 1863,[37] and one inside the Louvre made
by Louis-Denis Caillouette in 1822,[38] are also not traceable back to a source.

[12] Studios already existed before Ruisdael was born.[135]

Painters from the tonal phase had also developed ecient
techniques such as wet-into-wet paint, but this was not
used by the classical phase painters, who strived for a high
level of realism.[136]
[13] It is not certain if Ruisdael had more pupils other than
Hobbema in his studio, but at least four other artists
have been identied as having provided staage for his
landscapes.[25]
[14] Art historian Scheyer suggests that it possible that one
of the Jewish Cemetery versions was commissioned by
the family of Eliahu Montalto, whose tomb is on the
painting.[142] Slive does not hold this for impossible.[143]
[15] This work, The Arrival of Cornelis de Grae and Members
of His Family at Soestdijk, His Country Estate (c. 1660), is
unusual in Ruisdaels oeuvre for another reason. It is also
the only one in which his landscape is the background to
the work of another artist.[144]

5 References
5.1 Notes
[1] Slive & Hoetink 1981, p. 19.
[2] Slive & Hoetink 1981, p. 1721.
[3] Reenen & Wijnands 1993, p. 389419.
[4] Union list of artist names. J. Paul Getty Trust. Archived
from the original on 1 January 2016. Retrieved 1 January
2016.
[5] Scott 2015, p. 104.

[8] Tax records show Ruisdael paid 10 guilders for the 0.5%
wealth tax in 1674, indicating his net worth was 2,000
guilders.[40]

[6] Salomon van Ruysdael. National Gallery. Archived

from the original on 4 January 2016. Retrieved 3 January
2016.

[9] Other evidence of his compositional skills includes the

botanically accurate representation of the shrub Viburnum
lantana on the 1653 Bentheim Castle painting, for which
there is no evidence of ever have been present in this
area.[57]

[7] River Landscape with Ferry. National Gallery of Art.

Archived from the original on 6 January 2016. Retrieved
3 January 2016.

[10] It is assumed that in his early years Ruisdael painted the

staage himself.[49] Landscape with a Cottage and Trees of
1646 is one such example.[77] The gures in most of his
panoramic views are also of his own hand.[78] Art historian Robert Watson writes that the odd tendency to hire
each other to paint small gures in landscapes suggests
a taboo guarding the barrier between the human and the
natural.[79]

[8] Slive & Hoetink 1981, p. 17.

[9] Slive & Hoetink 1981, p. 21.
[10] Houbraken 1718, p. 65.
[11] Slive 2011, p. xi.
[12] Slive & Hoetink 1981, p. 18.
[13] Liedtke 2007, p. 801.

5.1

Notes

[14] Kuznetsov 1983, p. 4.

[46] Slive 2006, p. 2.

[15] Slive 2005, p. 2.

[47] Slive 2001, p. 491.

[16] Slive 2005, p. 3.

[48] Giltay 1980, p. 141208.

[17] Slive 2001, p. 5.

[49] Sokolova 1988, p. 63.

[18] Slive & Hoetink 1981, p. 20.

[50] Hofstede de Groot 1911, p. 275.

[19] Jager 2015, p. 9.

[51] Slive 2001, p. 6.

[20] Golan 1997, p. 369.

[52] Slive 2001, p. 591593.

[21] Slive & Hoetink 1981, p. 22.

[53] Duplessis 1871, p. 109.

[22] Slive 2011, p. xii.

[54] Slive 2006, p. 3.

[23] Liedtke 2007, p. 788.

[55] Slive 2001, p. 25.

[24] Slive 2001, p. x.

[56] Slive & Hoetink 1981, p. 52.

[25] Jacob van Ruisdael in the RKD (Netherlands Institute

for Art History)". Netherlands Institute for Art History.
Archived from the original on 1 January 2016. Retrieved
1 January 2016.

[57] Ham 1983, p. 207.

[58] Slive 2011, p. 54.
[59] Slive 2011, p. 56.

[26] Slive 2001, p. 153.

[60] Slive 2001, p. 4348.
[27] Slive & Hoetink 1981, p. 1920.
[28] Scheltema 1872, p. 105.
[29] Hinrichs 2013, pp. 5862.
[30] Wecker, Menachem (21 October 2005). Jacob van Ruisdael is not Jewish. Forward. Archived from the original
on 1 January 2016. Retrieved 1 January 2016.
[31] Slive 2001, p. i.

[61] Slive 2001, p. 181.

[62] Slive & Hoetink 1981, p. 68.
[63] Slive 2001, p. 154.
[64] Slive 1982, p. 29.
[65] Hofstede de Groot 1911, p. 2.
[66] Slive 2006, p. 4.

[32] Wstefeld 1989, p. 11.

[67] Giltay 1987, p. 439.
[33] Israel 1995, p. 397.
[68] Kuznetsov 1983, p. 8.
[34] Scheltema 1872, p. 101.
[35] Houbraken 1718, p. 66.
[36] Plaatjesalbum: De Zuid-Hollandsche Koe- en Theehandel, Vaderlandsche historie. Zwiggelaar Auctions.
Archived from the original on 1 January 2016. Retrieved
1 January 2016.
[37] Kunsthalle Statues and portraits of artists. Van der
Krogt websites. Archived from the original on 7 January
2016.

[69] Slive 2006, p. 5.

[70] Slive 1982, p. 26-28.
[71] Stechow 1966.
[72] The Windmill at Wijk bij Duurstede. Rijksmuseum.
Archived from the original on 7 January 2016. Retrieved
21 December 2015.
[73] Slive 2011, p. vi.

[38] Clarac 1841, p. 540.

[74] Slive 2001, p. 570.

[39] Wijnman 1932, p. 4960.

[75] Slive 2001, p. 1122.

[40] Slive & Hoetink 1981, p. 26.

[76] Slive & Hoetink 1981, p. 157.

[41] Montias 1996, p. 366.

[77] Slive & Hoetink 1981, p. 29.

[42] Montias 1996, p. 369.

[78] Slive 2001, p. 66.

[43] Slive 2005, p. xiii.

[79] Watson 2011, p. 175.

[44] Slive 2006, p. 1.

[80] Slive & Hoetink 1981, p. 23.

[45] Ashton, Davies & Slive 1982, p. 5.

[81] Slive 2001, p. contents.

10

[82] Hofstede de Groot 1911, p. 4.

[83] Slive 2001, p. 131.
[84] Slive 2005, p. 261.
[85] Hofstede de Groot 1911, p. 6.
[86] Wetering 2014, p. ix.
[87] Slive 2005, p. i.
[88] Slive & Hoetink 1981, p. 13.
[89] Bachrach 1981, p. 1930.
[90] Slive 2001, p. 695696.
[91] Slive 2001, p. 695.
[92] Jansen, Luijten & Bakker 2009, Letter 249.
[93] Jansen, Luijten & Bakker 2009, Letter 37.
[94] Jansen, Luijten & Bakker 2009, Letter 34.

REFERENCES

[116] Collection Search: Jacob Isaacksz. van Ruisdael"".

National Gallery. Archived from the original on 13 January 2016. Retrieved 20 October 2015.
[117] Collection Search: Jacob Isaacksz. van Ruisdael"".
Rijksmuseum. Archived from the original on 14 January
2016. Retrieved 8 September 2015.
[118] Collection Search: Jacob Isaacksz. van Ruisdael"".
Hermitage. Archived from the original on 16 January
2016. Retrieved 20 October 2015.
[119] Collection Search: Jacob Isaacksz. van Ruisdael"".
Metropolitan Museum of Art. Archived from the original on 22 January 2016. Retrieved 20 October 2015.
[120] Collection Search: Jacob Isaacksz. van Ruisdael"". J.
Paul Getty Museum. Archived from the original on 18
January 2016. Retrieved 20 October 2015.
[121] Jacob Isaacksz. van Ruisdael (Haarlem 1628/9-c. 1682
Amsterdam) Dunes by the sea. Christies. Archived from
the original on 16 January 2016. Retrieved 9 September
2015.

[95] In line with van Gogh. Metropolitan Museum of Art. [122] Slive 2005, p. 4.
Archived from the original on 10 January 2016. Retrieved [123] Collection Search: Drawings Jacob Isaacksz. van Ruis25 September 2015.
dael"". Rijksmuseum. Archived from the original on 19
January 2016. Retrieved 18 November 2015.
[96] Januszczak, Waldemar (26 February 2006). Art: Jacob
van Ruisdael. Archived from the original on 11 January [124] Collection Search: Drawings Jacob Isaacksz. van Ruis2016. Retrieved 11 January 2016.
dael"". Teylers Museum. Archived from the original on
12 January 2016. Retrieved 18 November 2015.
[97] Slive 2005, p. viii.
[125] Kuznetsov 1983, p. 9.
[98] Wornum 1848, p. 450.
[126] Slive & Hoetink 1981, p. 234235.
[99] Goethe & Gage 1980, p. 210.
[127] Schama 1987, p. 34.
[100] Kuznetsov 1983, p. 0.
[128] Joby 2007, p. 171.
[101] Schama 2011.
[129] Kuznetsov 1983, p. 3.
[102] Bredius 1915, p. 19.

[130] Israel 1995, p. 875.

[103] Clark 1979, p. 32.

[131] North 1997, p. 134.

[104] Slive 1995, p. 195.

[132] Price 2011, p. 104.

[105] Slive 2006.

[133] North 1997, p. 79.

[106] Slive 2005.

[134] Slive 2005, p. 7.

[107] Goethe & Gage 1980, p. 213215.

[108] Smith 1835, p. 4.
[109] Rosenberg 1928, p. 30.

[135] Giord 1995, p. 141.

[136] Giord 1995, p. 145.
[137] Miedema 1994, p. 126.
[138] Marchi & Miegroet 1994, p. 456.

[110] Krugler 1846, p. 338.

[111] Walford 1991, p. 29.
[112] Walford 1991, p. 201.

[139] North 1997, p. 9395.

[140] Montias 1989, p. 181.
[141] Slive 2005, p. 17.

[113] Bakker & Webb 2012, p. 212213.

[142] Scheyer 1977, p. 138.

[114] Graham-Dixon 2013.

[143] Slive & Hoetink 1981, p. 73.

[115] Slive 2011, p. 28.

[144] Slive & Hoetink 1981, p. 25.

5.2

5.2

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Slive, Seymour; Hoetink, Hendrik Richard (1981).

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Slive, Seymour (1982). Jacob van Ruisdael
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Slive, Seymour (1995). Dutch Painting. New
Haven, Conn.: Yale University Press. ISBN 9780-300-07451-2.
Slive, Seymour (2001). Jacob van Ruisdael: a Complete Catalogue of his Paintings, Drawings, and Etchings. New Haven, Conn.: Yale University Press.
ISBN 978-0-300-08972-1.
Slive, Seymour (2005). Jacob van Ruisdael: Master of Landscape. London: Royal Academy of Arts.
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Slive, Seymour (2006). Jacob van Ruisdael. Gallery
guide to the exhibition. Jacob van Ruisdael, master of
landscape exhibition (25 February 4 June 2006).
London: Royal Academy of Arts.
Slive, Seymour (2011). Jacob van Ruisdael: Windmills and Water Mills. Los Angeles: Getty Publications. ISBN 978-1-60606-055-1.
Smith, John (1835). A Catalogue Raisonn of
the Works of the Most Eminent Dutch, Flemish,
and French Painters 6. London: Sands. OCLC
3300061.
Sokolova, Irina (1988). Dutch paintings of the Seventeenth Century. In Howard, Kathleen. Dutch
and Flemish Paintings from the Hermitage. New
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Stechow, Wolfgang (1966). Dutch Landscape
Painting of the Seventeenth Century. London:
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and the Perception of Landscape. New Haven,
Conn./London: Yale University Press. ISBN 9780-300-04994-7.
Watson, Robert (2011). Back to Nature: The Green
and the Real in the Late Renaissance. Philadelphia,
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Wornum, Ralph (1848). Lectures on Painting: by the
Royal Academicians, Barry, Opie and Fuseli. London: H. G. Bohn. OCLC 7222842.
Wstefeld, Wilhelmina (1989). De Boeken van
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External links
Media related to Jacob Isaacksz. van Ruisdael at
Wikimedia Commons

14

7 TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

Text and image sources, contributors, and licenses

7.1

Text

Jacob van Ruisdael Source: https://en.wikipedia.org/wiki/Jacob_van_Ruisdael?oldid=709292478 Contributors: Sjc, Rmhermen, Ellywa,

Suisui, Chris 73, Gidonb, DocWatson42, Michael Devore, Guusbosman, OldakQuill, JoJan, Pethan, D6, El C, Redf0x, Polylerus, Anthony Appleyard, FeanorStar7, Mandarax, Sparkit, David Levy, Angusmclellan, FlaBot, SchuminWeb, Jaraalbe, Bgwhite, YurikBot,
Wolbo, Crisco 1492, Fram, Attilios, Vanwae, Espresso Addict, Eskimbot, Wittylama, Ian Rose, Afasmit, Wizardman, Curly Turkey,
Ceoil, SashatoBot, Mr Stephen, Iridescent, Siyajkak~enwiki, Iokseng, Jane023, Common appeal, Modernist, JAnDbot, Aibara, Taksen,
JNW, Johnbod, Chiswick Chap, Joanenglish, VolkovBot, TXiKiBoT, Dirkbb, BOTijo, Stomme, Argmda, SieBot, Ttony21, Oxxo, Graham
Beards, Caltas, Hxhbot, Hello71, Lightmouse, Vojvodaen, Georgequizbowl08, Fangjian, Hafspajen, Kikos, Incredible Victory, AlexGWU,
RogDel, Pataki Mrta, Addbot, Fenbaud, Cst17, CarsracBot, Zorrobot, Yobot, Ptbotgourou, Vincent Steenberg, AnomieBOT, Xqbot, TechBot, Paintmgr, Donald1972, RedBot, Cnwilliams, Dan8700, Lotje, Oracleofottawa, Woodlot, EmausBot, WikitanvirBot, Aeonx, ChuispastonBot, EllenHodges, VNonesuch, ClueBot NG, Editr, Helpful Pixie Bot, BG19bot, BattyBot, LaundryCats2012, Khazar2, FoCuSandLeArN, VIAFbot, WilliamDigiCol, Lingzhi, TFA Protector Bot, Edwininlondon, Prisencolin, Rawdeal85, Noswall59, Burklemore1,
FACBot, KasparBot, 123kate321, Faiyaz Shamsi and Anonymous: 35

7.2

Images

File:Constable,_John_-_Landscape_with_Windmills_near_Haarlem,_after_Jacob_van_Ruisdael_-_Google_Art_Project.jpg
Source: https://upload.wikimedia.org/wikipedia/commons/a/a4/Constable%2C_John_-_Landscape_with_Windmills_near_Haarlem%
2C_after_Jacob_van_Ruisdael_-_Google_Art_Project.jpg License: Public domain Contributors: YQE7j6y31FyzaQ at Google Cultural
Institute, zoom level maximum Original artist: Constable, John (1776 - 1837) (Artist, Details of artist on Google Art Project)
File:Jacob_Isaacksz._van_Ruisdael_-_The_Castle_at_Bentheim_-_WGA20470.jpg Source:
https://upload.wikimedia.org/
wikipedia/commons/e/e7/Jacob_Isaacksz._van_Ruisdael_-_The_Castle_at_Bentheim_-_WGA20470.jpg License:
Public domain
Contributors: Web Gallery of Art: <a href='http://www.wga.hu/art/r/ruysdael/jacob/1/bentheim.jpg' data-x-rel='nofollow'><img
alt='Inkscape.svg' src='https://upload.wikimedia.org/wikipedia/commons/thumb/6/6f/Inkscape.svg/20px-Inkscape.svg.png' width='20'
height='20' srcset='https://upload.wikimedia.org/wikipedia/commons/thumb/6/6f/Inkscape.svg/30px-Inkscape.svg.png 1.5x, https://
upload.wikimedia.org/wikipedia/commons/thumb/6/6f/Inkscape.svg/40px-Inkscape.svg.png 2x' data-le-width='60' data-le-height='60'
/></a> Image <a href='http://www.wga.hu/html/r/ruysdael/jacob/1/bentheim.html' data-x-rel='nofollow'><img alt='Information icon.svg'
src='https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Information_icon.svg/20px-Information_icon.svg.png' width='20'
height='20' srcset='https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Information_icon.svg/30px-Information_icon.svg.png
1.5x, https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Information_icon.svg/40px-Information_icon.svg.png 2x' data-lewidth='620' data-le-height='620' /></a> Info about artwork Original artist: Jacob Isaakszoon van Ruisdael (1628/16291682)
File:Jacob_Isaacksz._van_Ruisdael_-_The_Jewish_Cemetery_-_WGA20486.jpg Source: https://upload.wikimedia.org/wikipedia/
commons/d/d1/Jacob_Isaacksz._van_Ruisdael_-_The_Jewish_Cemetery_-_WGA20486.jpg License: Public domain Contributors:
Web Gallery of Art: <a href='http://www.wga.hu/art/r/ruysdael/jacob/2/jewish_c.jpg' data-x-rel='nofollow'><img alt='Inkscape.svg'
src='https://upload.wikimedia.org/wikipedia/commons/thumb/6/6f/Inkscape.svg/20px-Inkscape.svg.png'
width='20'
height='20'
srcset='https://upload.wikimedia.org/wikipedia/commons/thumb/6/6f/Inkscape.svg/30px-Inkscape.svg.png
1.5x,
https://upload.
wikimedia.org/wikipedia/commons/thumb/6/6f/Inkscape.svg/40px-Inkscape.svg.png 2x' data-le-width='60' data-le-height='60'
/></a> Image <a href='http://www.wga.hu/html/r/ruysdael/jacob/2/jewish_c.html' data-x-rel='nofollow'><img alt='Information icon.svg'
src='https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Information_icon.svg/20px-Information_icon.svg.png' width='20'
height='20' srcset='https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Information_icon.svg/30px-Information_icon.svg.png
1.5x, https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Information_icon.svg/40px-Information_icon.svg.png 2x' data-lewidth='620' data-le-height='620' /></a> Info about artwork Original artist: Jacob Isaakszoon van Ruisdael (1628/16291682)
File:Jacob_Isaacksz._van_Ruisdael_-_View_of_Naarden_-_Google_Art_Project.jpg Source:
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wikipedia/commons/c/c3/Jacob_Isaacksz._van_Ruisdael_-_View_of_Naarden_-_Google_Art_Project.jpg License:
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Contributors: 1wG7en80GxSaIQ at Google Cultural Institute, zoom level maximum Original artist: Jacob Isaakszoon van Ruisdael
(1628/16291682)
File:Jacob_van_Ruisdael_-_A_View_of_Egmond_aan_Zee_-_Kelvingrove_Art_Gallery.jpg Source: https://upload.wikimedia.org/
wikipedia/commons/5/5f/Jacob_van_Ruisdael_-_A_View_of_Egmond_aan_Zee_-_Kelvingrove_Art_Gallery.jpg License: Public domain Contributors: http://www.bbc.co.uk/arts/yourpaintings/paintings/a-view-of-egmond-aan-zee-85926 Original artist: Jacob Isaakszoon van Ruisdael (1628/16291682)
File:Jacob_van_Ruisdael_-_Dune_Landscape.jpg Source:
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Ruisdael_-_Dune_Landscape.jpg License: Public domain Contributors: https://www.pubhist.com/w3715 Original artist: Jacob Isaakszoon
van Ruisdael (1628/16291682)
File:Jacob_van_Ruisdael_-_Dunes_by_the_Sea.jpg
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Jacob-Isaacsz-van-Ruisdael-Dunes-the-sea-DesktopDefault.aspx?tabid=6&tabindex=5&objectid=670381&categoryid=650
Original artist: Jacob Isaakszoon van Ruisdael (1628/16291682)
File:Jacob_van_Ruisdael_-_Waterfall_in_a_Mountainous_Landscape_with_a_Ruined_Castle.jpg Source:
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License: Public domain Contributors: https://www.pubhist.com/w4698 Original artist: Jacob Isaakszoon van Ruisdael (1628/16291682)
File:Jacob_van_Ruisdael_-_Winter_Landscape_with_a_Watermill.jpg Source: https://upload.wikimedia.org/wikipedia/commons/
4/40/Jacob_van_Ruisdael_-_Winter_Landscape_with_a_Watermill.jpg License: Public domain Contributors: http://www.sothebys.
com/en/auctions/ecatalogue/2007/important-old-master-paintings-and-european-works-of-art-n08282/lot.22.html Original artist: Jacob
Isaakszoon van Ruisdael (1628/16291682)

7.3

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File:Jacob_van_Ruisdael_1660s_signature_on_Landschap_met_waterval.png Source: https://upload.wikimedia.org/wikipedia/

commons/7/73/Jacob_van_Ruisdael_1660s_signature_on_Landschap_met_waterval.png License:
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Project.jpg Original artist: Jacob van Ruisdael
File:Nicolaes_Berchem_-_Landscape_with_Castle_Bentheim.jpeg Source: https://upload.wikimedia.org/wikipedia/commons/3/30/
Nicolaes_Berchem_-_Landscape_with_Castle_Bentheim.jpeg License: Public domain Contributors: http://skd-online-collection.skd.
museum/de/contents/showSearch?id=206254 Original artist: Nicolaes Pieterszoon Berchem (1621/16221683)
File:Salomon_van_Ruysdael_-_View_of_Egmond_aan_Zee_-_WGA20562.jpg Source: https://upload.wikimedia.org/wikipedia/
commons/5/5b/Salomon_van_Ruysdael_-_View_of_Egmond_aan_Zee_-_WGA20562.jpg License: Public domain Contributors: Web
Gallery of Art: <a href='http://www.wga.hu/art/r/ruysdael/salomon/1/egmond.jpg' data-x-rel='nofollow'><img alt='Inkscape.svg'
src='https://upload.wikimedia.org/wikipedia/commons/thumb/6/6f/Inkscape.svg/20px-Inkscape.svg.png'
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srcset='https://upload.wikimedia.org/wikipedia/commons/thumb/6/6f/Inkscape.svg/30px-Inkscape.svg.png
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Image <a href='http://www.wga.hu/html/r/ruysdael/salomon/1/egmond.html' data-x-rel='nofollow'><img alt='Information icon.svg'
src='https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Information_icon.svg/20px-Information_icon.svg.png' width='20'
height='20' srcset='https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Information_icon.svg/30px-Information_icon.svg.png
1.5x, https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Information_icon.svg/40px-Information_icon.svg.png 2x' data-lewidth='620' data-le-height='620' /></a> Info about artwork Original artist: Salomon van Ruysdael (circa 1600/16031670)
File:Speaker_Icon.svg Source: https://upload.wikimedia.org/wikipedia/commons/2/21/Speaker_Icon.svg License: Public domain Contributors: No machine-readable source provided. Own work assumed (based on copyright claims). Original artist: No machine-readable
author provided. Mobius assumed (based on copyright claims).
File:Van_Ruisdael,_Jacob_-_Landscape_with_Windmills_near_Haarlem_-_Google_Art_Project.jpg
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Art_Project.jpg License: Public domain Contributors: 2QG3l0_k_wZ-LA at Google Cultural Institute, zoom level maximum Original
artist: Jacob Isaakszoon van Ruisdael (1628/16291682)
File:View_of_Haarlem_with_Bleaching_Grounds_c1665_Ruisdael.jpg
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Public domain Contributors:
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commons/0/07/View_of_Haarlem_with_Bleaching_Grounds_c1665_Ruisdael.jpg License:
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src='https://upload.wikimedia.org/wikipedia/commons/thumb/6/6f/Inkscape.svg/20px-Inkscape.svg.png'
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srcset='https://upload.wikimedia.org/wikipedia/commons/thumb/6/6f/Inkscape.svg/30px-Inkscape.svg.png
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Image <a href='http://www.wga.hu/html/r/ruysdael/jacob/2/view_haa.html' data-x-rel='nofollow'><img alt='Information icon.svg'
src='https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Information_icon.svg/20px-Information_icon.svg.png' width='20'
height='20' srcset='https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Information_icon.svg/30px-Information_icon.svg.png
1.5x, https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Information_icon.svg/40px-Information_icon.svg.png 2x' data-lewidth='620' data-le-height='620' /></a> Info about artwork Original artist: Jacob Isaakszoon van Ruisdael (1628/16291682)

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