DOI Page / Citation link:
https://doi.org/10.11588/diglit.49256#0103
RUYSDAEL.
O
fclt for painting. At what âge tlicn could lie hâve conceived that passion for Icarning to paint,
if lie liad already practiscd tho art with so much superiority at the âge of twelvo ! But tliese are
not tlie only blunders that can be dotectcd in the assertions of this good man, of whom Diderot
onc day conversed so jocosely with Chardin. “ The works of Berghem,” says Descamps, “ pleased
Ruysdael very inuch ; it even seemed as if there was some resemblance between the genius of both ; ho
paid him a visit at Amsterdam, and acquainted hini with his great passion for the art of painting.
It is not said that Berghem was his master, but we are assured that they were closely united in
friendship. This is cnough to make us believe that so intimate a union contributed to the
advancement of Ruysdael. Surmise becomes certainty,—when, on examining his works, wo
recognise the touch and colour of hini who had been his guide.” This passage is quite a curiosity
in its way, and we must read once more that precious phrase, “ It even seemed that there was
some resemblance between the genius of both ;” now if there ever existed two mon of a genius not
merely different but diametrically opposite, these certainly were Ruysdael and Berghem. Grâce,
spirit, gaiety, and a new-born feeling of pastoral life,—such were the attributes of Berghem ;
grave sensibility, and deep concentratcd émotion,—these constitute the soûl and strength of
Ruysdael, and hercin lies his greatness. At no period of his talent can we discover in the touch
of the two masters the resemblance that Descamps speaks of. As to his colour, it is evidently
conceived in quite a different scalo front that of Berghem ; tho gay and brilliant tones are
rigorously banished, and red, for instance, never appeared in it at ail. It is very certain,
therefore, that the merry peasant girls, free and easy in their manner, and dressed in their
scarlet clothes, whom Berghem sometimes introduced into tho picturcs of his friend, doubtless
at the request of the purchasers, must hâve been an incongruity, amidst tho sombre and serions
tonc of Ruysdael’s landscapes. Besides, it is easy to ascertain that Ruysdael, in his first style,
is very remote indeed from the brilliant, livcly, and easy execution of his illustrions countryman.
The probability is, that Jacob Ruysdael, who was living at Ilaarleïft with his brother Solomon,
yielded on seeing him paint, tp the incitement of his own genius, and formed his first style upon
that of his brother. Amongst his works, those which lie thon executed are easily distinguished
by the hardness of the touch ; by tho colour and tho composition of the skies. Should we not
also look to the works of Aldert van Everclingen, whose paintings might bo easily confounded
with those of Ruysdael, if we direct our inquiries to discover a striking resemblance in the
disposition and tho choice of subjects, as well as in the manner of treating thom ? Ile was the
real master of Ruysdael, or at least his guide, and if the disciple surpasses his modcl in depth of
feeling, it is because lie sees nature in a different light ; but the relation between these two
great mon is no less incontestable.*
This, however, is of no moment, for the.most médiocre master would hâve sufficed to tcach
Ruysdael the practical part of the profession ; his genius would hâve donc tho rest. Who, thon,
when contomplating his incomparable landscapes, will think of inquiring where the artist
learned to produce theni ?
* Those who wish to increase the wealth of Ruysdael by robbing Everdingen, hâve made him a student of the wild
scenery of Norway ; but where is the authority ? They find it in the frowning rocks, Norwegian pines piercing the
clouds, and foaming cascades tumbling precipitously over the débris caused. by many a furious northern tempest. But
it is known that Aldert van Everdingen spent much of his life in depicting that scenery, and it would be difficult to
point ont a picture by him of an entirely placid character. A large landscape of this class, which is in the magnificent
collection at Luton, and was recently exhibited as by Jacob Ruysdael at the British Gallery, bears the impress of
Aldert van Everdingen’s mind and pencil in every part, and there are many others by him in this country that are
equally misappropriated by the cupidity of dealers, and the credulity of collectors. Ruysdael does not need these
additions to his wealth ; he is a sovereign both by land and sea, and the number of his productions in both
departments, and in ail their varied aspects, must continue his supremacy against every competitor.—Bryan’s
Pictionary of Paint ers.
51
O
fclt for painting. At what âge tlicn could lie hâve conceived that passion for Icarning to paint,
if lie liad already practiscd tho art with so much superiority at the âge of twelvo ! But tliese are
not tlie only blunders that can be dotectcd in the assertions of this good man, of whom Diderot
onc day conversed so jocosely with Chardin. “ The works of Berghem,” says Descamps, “ pleased
Ruysdael very inuch ; it even seemed as if there was some resemblance between the genius of both ; ho
paid him a visit at Amsterdam, and acquainted hini with his great passion for the art of painting.
It is not said that Berghem was his master, but we are assured that they were closely united in
friendship. This is cnough to make us believe that so intimate a union contributed to the
advancement of Ruysdael. Surmise becomes certainty,—when, on examining his works, wo
recognise the touch and colour of hini who had been his guide.” This passage is quite a curiosity
in its way, and we must read once more that precious phrase, “ It even seemed that there was
some resemblance between the genius of both ;” now if there ever existed two mon of a genius not
merely different but diametrically opposite, these certainly were Ruysdael and Berghem. Grâce,
spirit, gaiety, and a new-born feeling of pastoral life,—such were the attributes of Berghem ;
grave sensibility, and deep concentratcd émotion,—these constitute the soûl and strength of
Ruysdael, and hercin lies his greatness. At no period of his talent can we discover in the touch
of the two masters the resemblance that Descamps speaks of. As to his colour, it is evidently
conceived in quite a different scalo front that of Berghem ; tho gay and brilliant tones are
rigorously banished, and red, for instance, never appeared in it at ail. It is very certain,
therefore, that the merry peasant girls, free and easy in their manner, and dressed in their
scarlet clothes, whom Berghem sometimes introduced into tho picturcs of his friend, doubtless
at the request of the purchasers, must hâve been an incongruity, amidst tho sombre and serions
tonc of Ruysdael’s landscapes. Besides, it is easy to ascertain that Ruysdael, in his first style,
is very remote indeed from the brilliant, livcly, and easy execution of his illustrions countryman.
The probability is, that Jacob Ruysdael, who was living at Ilaarleïft with his brother Solomon,
yielded on seeing him paint, tp the incitement of his own genius, and formed his first style upon
that of his brother. Amongst his works, those which lie thon executed are easily distinguished
by the hardness of the touch ; by tho colour and tho composition of the skies. Should we not
also look to the works of Aldert van Everclingen, whose paintings might bo easily confounded
with those of Ruysdael, if we direct our inquiries to discover a striking resemblance in the
disposition and tho choice of subjects, as well as in the manner of treating thom ? Ile was the
real master of Ruysdael, or at least his guide, and if the disciple surpasses his modcl in depth of
feeling, it is because lie sees nature in a different light ; but the relation between these two
great mon is no less incontestable.*
This, however, is of no moment, for the.most médiocre master would hâve sufficed to tcach
Ruysdael the practical part of the profession ; his genius would hâve donc tho rest. Who, thon,
when contomplating his incomparable landscapes, will think of inquiring where the artist
learned to produce theni ?
* Those who wish to increase the wealth of Ruysdael by robbing Everdingen, hâve made him a student of the wild
scenery of Norway ; but where is the authority ? They find it in the frowning rocks, Norwegian pines piercing the
clouds, and foaming cascades tumbling precipitously over the débris caused. by many a furious northern tempest. But
it is known that Aldert van Everdingen spent much of his life in depicting that scenery, and it would be difficult to
point ont a picture by him of an entirely placid character. A large landscape of this class, which is in the magnificent
collection at Luton, and was recently exhibited as by Jacob Ruysdael at the British Gallery, bears the impress of
Aldert van Everdingen’s mind and pencil in every part, and there are many others by him in this country that are
equally misappropriated by the cupidity of dealers, and the credulity of collectors. Ruysdael does not need these
additions to his wealth ; he is a sovereign both by land and sea, and the number of his productions in both
departments, and in ail their varied aspects, must continue his supremacy against every competitor.—Bryan’s
Pictionary of Paint ers.
51