Winter landscape1/31/2024 ![]() In particular, no superposition (of images or texts) on the reproduction is allowed. The image may not be manipulated, deformed, modified, or altered in any way. If the image is used for reproduction, the work must be reproduced in its entirety.The user agrees to use the image of the website solely and exclusively for the purposes described above and in accordance with the following terms of use: Non-commercial use is understood as the use of the images in a context where no profit, monetary or commercial, is generated, directly or indirectly.Īny use other than those indicated above will require the prior written authorization of the Fundación Any request for educational and research use or for non-commercial use (including academic publications), should be directed by email to the Museum Photo Library through the email address This department manages the worldwide distribution of the images of the works of the Museo Nacional Thyssen-Bornemisza and the management of their reproduction rights for those uses. Use for educational and research purposes is understood as the non-commercial or advertising use of images in presentations, conferences, school or university work, in classes at regulated education institutions, as well as in academic publications, with a circulation of less than 1,000 copies, provided that it is non-profit. The Fundación authorizes the downloading of high-resolution images from its website for private use, use for educational and research purposes, and other non-commercial uses. The exploitation rights of the images correspond to the Fundación Coleccion Thyssen-Bornemisza, F.S.P. From the point of view of its date, the canvas has been compared to two other works by this painter: a Winter Landscape in the Boijmans Van Beuningen Museum in Rotterdam and a Winter View in the Rijksmuseum in Amsterdam. However, as that author also noted, little is known about Van Ruisdael’s studio. The brushstroke is rather carelessly applied in some areas, while the simplification and schematic nature of some areas of the composition and the figures (which include a group throwing snowballs, which is an unusual motif in Van Ruisdael’s work) led Gaskell to suggest that the painting may have been partly painted by another hand in collaboration with the artist. ![]() In the background planes, which almost blend into the heavy winter clouds of the sky, it is possible to make out a village. On the left of the canvas is a tree that stands out due to its pronounced slope, the shape of the trunk and branches, as well as the contrast created by its bright, snow-covered branches against the dark sky. Gaskell noted that the extraction of peat was one of the most profitable activities of the Dutch Republic and that it was transported by canal as it was a basic product used in various industries. On the right in the bend of the frozen water we see a series of buildings of a functional type that have been identified as storage spaces for peat, a type of fuel that would have been transported by the boat moored alongside the buildings. In the present canvas, which has a high viewpoint, the artist used a strong diagonal formed by the frozen canal that crosses the pictorial space. Van Ruisdael’s approach to the winter landscape was different to that of other artists as he conveyed the harshness of the season and its discomforts rather than emphasising the possibilities for sports and games. On occasions these scenes include large windmills whose shapes are outlined against the heavy winter sky. Van Ruisdael’s winter landscapes depict the fields and forests of the Dutch countryside under the effects of snow, as well as frozen canals beside villages and the countryside around farms and small hamlets. As in the summer landscape Road through Fields of Corn near the Zuider Zee, also in this collection, landscapes of this type were independent compositions and were not part of series devoted to the seasons of the year or the months. It would seem that Van Ruisdael started to paint scenes of this type after he moved to Amsterdam. Around thirty oils of this type are known by Van Ruisdael, none of them dated, but almost all using a small format. Winter landscapes depicting the effects of the season and set in the countryside or in cities and their outskirts had already been depicted by artists of the generations prior to Van Ruisdael such as Jan van Goyen, Aert van der Neer and Jan van de Cappelle.
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