【霍贝玛油画作品欣赏】霍贝玛荷兰画家世界著名画家霍贝玛油画欣赏meyndert霍贝玛作品

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　著名画家霍贝玛油画作品欣赏

霍贝玛油画作品欣赏

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霍贝玛油画作品欣赏meyndert, 霍贝玛（bapt. 10月31日，1638年，阿姆斯特丹 - 12月7，1709年，阿姆斯特丹），也许是最伟大的风景画家“的荷兰后Ruisdael的学校。他住在阿姆斯特丹，在下半年的17世纪。他生活中的事实是有些模糊。没有比这更令人失望，不如找霍贝玛的情况下年表和签署的图片大幅互相矛盾。根据后者，他的做法持续了从1650年到1689年，根据前他出生在1638年发生，1709年底他的死亡。如果杰作以前Bredel公司集合，称为一个林木流，诚实承担的1650日期，或在树的福特收集1652年的日期的别墅，画家这些画布可以不被霍贝玛，其出生在1638年发生了，除非我们确实承认，霍贝玛画在十二或十四岁的他的一些最好的作品。一个相当长的时期，它是有利可图的通过作为Ruysdaels的Hobbemas，较小的主的名称可能是从他的几个制作擦除。当霍贝玛的才华被认可，其次是相反的过程，这样的名称，可能是虚构的日期，以欺诈手段再现。一个有经验的眼睛会注意到霍贝玛的签名等众所周知的例子发生的分歧，作为装饰画廊，伦敦和鹿特丹或格罗夫纳和van der圈集合。同时，我们必须内容要知道，如果日期的问题，可以根据记录和年代，霍贝玛的生活带来的事实如下。 meyndert霍贝玛在三十岁结婚到Eeltije Gorcum Vinck，在Oudekerk或在阿姆斯特丹老教堂，在1668年11月的第二个。证人的婚姻新娘的哥哥科尼利厄斯Vinck和Ruysdael雅各。我们不妨从这个假设，霍贝玛和Ruysdael的，两个景观大师，在这个时候团结友好关系，并接受信仰，前者是后者的瞳孔。然而，即使被拒绝，我们有记录以来告诉我们，有两个雅各Ruysdaels，表兄弟和同时代人，在17世纪中叶在阿姆斯特丹 - 一个FrameMaker中，所罗门的儿子，另一位画家的儿子艾萨克Ruysdael。霍贝玛的婚姻出现了1668和1673之间的四个孩子。在1704年Eeltije死亡，被埋葬在阿姆斯特丹，莱顿墓地穷光蛋节。霍贝玛自己幸存下来，直到1709年12月，该月14日在接受穷光蛋部分Westerkerk墓地安葬在阿姆斯特丹。丈夫和妻子一直住在他们的一生中Rozengracht，在没有从伦勃朗，谁也住在他后来的和贫困的日子，有很大的距离。伦勃朗，哈尔斯，雅各布Ruysdael，霍贝玛在某一方面的一致好评。他们都死在苦难中，为他们的辛劳，轻率使用他们的劳动所得的手段，也许，也许不够奖励。后人已确认霍贝玛和Ruysdael共同代表的园林艺术在荷兰的最后发展。他们的风格是如此，我们不能假设第一已无关的第二。仍然是他们的作品在某些方面有所不同，一般标明他们的性格，我们会发现很难区分他们的小，也确实，我们应当毫不犹豫地分离的霍贝玛，瘦弱的他的模仿和前辈的制作者 - 伊萨克Ruysdael，Rontbouts德弗里斯，德克尔，Looten，Verboom，杜波依斯，面包车凯塞尔，范德哈根，甚至菲利普·Koningk。霍贝玛在行使他的手艺是超越所有概念的病人。这是令人怀疑是否有任何人完全掌握，像他那样的树林和树篱，或工厂和游泳池的静物。我们也不能相信，他获得了这个掌握，由经常居住在同一街区以外，说，在Guelders或在荷兰的威斯特伐利亚边境，日复一日，他可能会研究分支和树木枝叶和安德伍德embowering别墅和工厂，下每轻的品种，在每一个季节生产的所有变化，阴影透明度。
Meyndert Hobbema Dutch Painter 1638 AD - 1709 AD

Meindert Hobbema (bapt. Oct 31, 1638, Amsterdam - Dec 7, 1709, Amsterdam), was perhaps the greatest landscape painter of the Dutch school after Ruisdael. He lived at Amsterdam in the second half of the 17th century. The facts of his life are somewhat obscure. Nothing is more disappointing than to find that in Hobbema's case chronology and signed pictures substantially contradict each other. According to the latter his practice lasted from 1650 to 1689; according to the former his birth occurred in 1638, his death as late as 1709. If the masterpiece formerly in the Bredel collection, called A Wooded Stream, honestly bears the date of 1650, or The Cottages under Trees of the Ford collection the date of 1652, the painter of these canvases cannot be Hobbema, whose birth took place in 1638, unless indeed we admit that Hobbema painted some of his finest works at the age of twelve or fourteen. For a considerable period it was profitable to pass Hobbemas as Ruysdaels, and the name of the lesser master was probably erased from several of his productions. When Hobbema's talent was recognized, the contrary process was followed, and in this way the name, and perhaps fictitious dates, reappeared by fraud. An experienced eye will note the differences which occur in Hobbema's signatures in such well-known examples as adorn the galleries of London and Rotterdam, or the Grosvenor and van der Hoop collections. Meanwhile, we must be content to know that, if the question of dates could be brought into accordance with records and chronology, the facts of Hobbema's life would be as follows. Meyndert Hobbema was married at the age of thirty to Eeltije Vinck of Gorcum, in the Oudekerk or old church at Amsterdam, on the 2nd of November 1668. Witnesses to the marriage were the bride's brother Cornelius Vinck and Jacob Ruysdael. We might suppose from this that Hobbema and Ruysdael, the two great masters of landscape, were united at this time by ties of friendship, and accept the belief that the former was the pupil of the latter. Yet even this is denied to us, since records tell us that there were two Jacob Ruysdaels, cousins and contemporaries, at Amsterdam in the middle of the 17th century - one a framemaker, the son of Solomon, the other a painter, the son of Isaac Ruysdael. Of Hobbema's marriage there came between 1668 and 1673 four children. In 1704 Eeltije died, and was buried in the pauper section of the Leiden cemetery at Amsterdam. Hobbema himself survived till December 1709, receiving burial on the 14th of that month in the pauper section of the Westerkerk cemetery at Amsterdam. Husband and wife had lived during their lifetime in the Rozengracht, at no great distance from Rembrandt, who also dwelt there in his later and impoverished days. Rembrandt, Hals, Jacob Ruysdael, and Hobbema were in one respect alike. They all died in misery, insufficiently rewarded perhaps for their toil, imprudent perhaps in the use of the means derived from their labours. Posterity has recognized that Hobbema and Ruysdael together represent the final development of landscape art in Holland. Their style is so related that we cannot suppose the first to have been unconnected with the second. Still their works differ in certain ways, and their character is generally so marked that we shall find little difficulty in distinguishing them, nor indeed shall we hesitate in separating those of Hobbema from the feebler productions of his imitators and predecessors - Isaac Ruysdael, Rontbouts, de Vries, Dekker, Looten, Verboom, du Bois, van Kessel, van der Hagen, even Philip de Koningk. In the exercise of his craft Hobbema was patient beyond all conception. It is doubtful whether any one ever so completely mastered as he did the still life of woods and hedges, or mills and pools. Nor can we believe that he obtained this mastery otherwise than by constantly dwelling in the same neighbourhood, say in Guelders or on the Dutch Westphalian border, where day after day he might study the branching and foliage of trees and underwood embowering cottages and mills, under every variety of light, in every shade of transparency, in all changes produced by the seasons.
霍贝玛油画作品欣赏meyndert, 霍贝玛油画作品欣赏——中国油画网北京华兰油画工作室黄泰华油画网站www.youhuas.com

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