Forest landscape Meindert Hobbema

A narrow path winds its way downwards between towering groves of trees. Isolated walkers bring the quiet landscape to life, whilst the bright sky opens up between the dark treetops. Light and shadow define the composition and guide the eye from the densely overgrown foreground to the brightened horizon. Painted around 1660, this work marks an important phase in Meindert Hobbema’s artistic development. In July of the same year, Jacob van Ruisdael confirmed that Hobbema had already been studying under him for several years. The influence of the eminent Haarlem landscape painter is particularly evident in Hobbema’s early works. In this landscape, too, the imposing groups of trees, the layering of the pictorial space and the pronounced light-and-shadow contrasts are reminiscent of his teacher’s works. At the same time, Hobbema’s own interpretation of the Dutch landscape is already evident. His forests appear less untouched and dramatic than those of Ruisdael. Paths, clearings and small figurative elements transform them into accessible places shaped by human activity. Here, too, the path draws the eye deep into the picture. The lighter areas in the centre of the picture and on the horizon open up the otherwise densely overgrown landscape and lend it a sense of spatial depth. Particularly striking is the contrast between the dark, almost closed canopy of trees and the bright, silvery-grey sky. The few figures remain small in comparison to the surrounding natural world. They provide a sense of scale to the landscape and enliven it without disturbing its tranquil, almost secluded atmosphere. Through such woodland paths, groups of trees and ever-changing accents of light, Hobbema developed the characteristic visual language that, alongside Jacob van Ruisdael, makes him one of the most significant Dutch landscape painters of the 17th century. | 1638 – Amsterdam – 1709 | 15.-18. Jahrhundert | Gemälde | Nummer: 26x2018 | Provenance: Galerie Van Diemen, Berlin; Privatsammlung, Niedersachsen.

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