Hanging on the walls of London’s National Gallery - Meindert Hobbema’s greatest masterpiece is an absolute marvel for capturing depth and perspective in a painting.
What a superb essay! You’ve outdone yourself. Another gem in NG that one (and I mean me) passes unthinkingly. Thank you - not only for this one, of course, but to see that nothing is unworthy of attention at the NG (or anywhere, really)
Thanks a lot Mike. I really appreciate it. In many ways, the NG feels like home territory for me - but I have no doubt at all that there are so many masterpieces in there I have still not seen properly too!
The fact that we don’t know why he painted this picture, why after so many years of not painting and how he developed his technique to me are fascinating mysteries from which great novels arise.
Thanks for this, George. I like Hobbema quite a bit, actually. I also love van Ruisdael. His landscapes are a little more wild, grand, and awe-inspiring; Hobbema's somehow manage to be domestic and intimate.
It’s an extraordinary painting—and an extraordinary life story to go with it. My pure speculation is that, while he did not pick up a brush for such a long time, he was still observing and painting scenes in his mind until, finally, he had to at least try to paint what he had been thinking about all those years.
Hobbema's story is fascinating! I first ran across it in Benjamin Moser's book, The Upside-Down World: Meetings with the Dutch Masters (which was a great read for anyone at all interested in art history, I highly recommend it)
What a beautiful narration about this painting. For me, the most fascinating part, apart from the perspective, is the dramatic lighting on the path. I have been fond of this painting for at least 50 years of my life. This painting is one of the most recognisable ones.
So glad to know you enjoyed the narration, especially with you being a fan of the work for so long. I totally agree with you - that drama of his lighting really adds to that striking atmosphere of this work.
I love the detail you chose for us! How many new stories are being told by those folks and their surroundings. I wonder how those trees did in a windstorm!;-)
That’s a great point! I suppose we can only hope they have survived all these years of storms - but even if not, at least the painting is entirely storm proof in its current location!
I too, at age 35, have stopped painting altogether. Its been over a year now. Still unsure of why… maybe burnout from doing commissions. Maybe one day the inspiration will come again.
Wonderful essay on this painting. It raises interesting question on the artistic nature that just has to express itself and the potential beauty when it does.
What a superb essay! You’ve outdone yourself. Another gem in NG that one (and I mean me) passes unthinkingly. Thank you - not only for this one, of course, but to see that nothing is unworthy of attention at the NG (or anywhere, really)
Thanks a lot Mike. I really appreciate it. In many ways, the NG feels like home territory for me - but I have no doubt at all that there are so many masterpieces in there I have still not seen properly too!
The fact that we don’t know why he painted this picture, why after so many years of not painting and how he developed his technique to me are fascinating mysteries from which great novels arise.
I totally agree with you. It would make a wonderful novel.
Thank you for this original flash of modernity painting. Grateful for your engaging insights
Thanks for this, George. I like Hobbema quite a bit, actually. I also love van Ruisdael. His landscapes are a little more wild, grand, and awe-inspiring; Hobbema's somehow manage to be domestic and intimate.
Glad to know you enjoy his work, Peter. And great points about the difference between van Ruisdael’s more wild pictures too.
It’s an extraordinary painting—and an extraordinary life story to go with it. My pure speculation is that, while he did not pick up a brush for such a long time, he was still observing and painting scenes in his mind until, finally, he had to at least try to paint what he had been thinking about all those years.
That definitely sounds like it could have been the case, Susan. I think an artist’s heart is very hard to escape, even if it lies dormant for years.
Hobbema's story is fascinating! I first ran across it in Benjamin Moser's book, The Upside-Down World: Meetings with the Dutch Masters (which was a great read for anyone at all interested in art history, I highly recommend it)
Thanks for the book recommendation, Evelyn. I’m sure many other readers will agree they are always welcome here.
What a beautiful narration about this painting. For me, the most fascinating part, apart from the perspective, is the dramatic lighting on the path. I have been fond of this painting for at least 50 years of my life. This painting is one of the most recognisable ones.
So glad to know you enjoyed the narration, especially with you being a fan of the work for so long. I totally agree with you - that drama of his lighting really adds to that striking atmosphere of this work.
I love the detail you chose for us! How many new stories are being told by those folks and their surroundings. I wonder how those trees did in a windstorm!;-)
That’s a great point! I suppose we can only hope they have survived all these years of storms - but even if not, at least the painting is entirely storm proof in its current location!
Fantastic painting, I didn't know of it. Thank you!
Interesting and intriguing essay. Thanks George.
I too, at age 35, have stopped painting altogether. Its been over a year now. Still unsure of why… maybe burnout from doing commissions. Maybe one day the inspiration will come again.
Wonderful essay on this painting. It raises interesting question on the artistic nature that just has to express itself and the potential beauty when it does.