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Lot Essay
The son of a cobbler, Van Goyen was apprenticed to a variety of Leiden-based artists before training from 1617-18 onwards with Esaias van de Velde in Haarlem. Van de Velde, his senior by six years, had a major impact on the younger artist, and his mark is particularly clearly visible in Van Goyen's work of circa 1618-26.
This work, which can stylistically be dated to the mid-1620s, is a fine example of Van Goyen's early style, and attests strongly to the influence of his teacher. Here, Van Goyen employs the format of constructing the composition from clear gradations of perspective, which was taken by Van de Velde from Flemish tradition. The dark solidity of the tree and the wood gathering figure in the left foreground, form a stark repoussoir and contrasts sharply with the frozen natural landscape. The centre of the composition is accentuated by the colourful figures and local colouration, set against the expeditiously and monochrome painted windmill, church and village in the third plane.
The present picture however also presages the characteristic elements of Van Goyen's later oeuvre; a monochromatic palette, greater naturalism and strongly horizontal compositions with a low horizon, only broken up by the verticality of the trees.
This finely executed picture is therefore not only a true masterpiece in its own right, but also a fine example of the skills and the steep development of a highly talented artist, who would become one of the exceptional exponents of Dutch 17th century landscape painting.
This work, which can stylistically be dated to the mid-1620s, is a fine example of Van Goyen's early style, and attests strongly to the influence of his teacher. Here, Van Goyen employs the format of constructing the composition from clear gradations of perspective, which was taken by Van de Velde from Flemish tradition. The dark solidity of the tree and the wood gathering figure in the left foreground, form a stark repoussoir and contrasts sharply with the frozen natural landscape. The centre of the composition is accentuated by the colourful figures and local colouration, set against the expeditiously and monochrome painted windmill, church and village in the third plane.
The present picture however also presages the characteristic elements of Van Goyen's later oeuvre; a monochromatic palette, greater naturalism and strongly horizontal compositions with a low horizon, only broken up by the verticality of the trees.
This finely executed picture is therefore not only a true masterpiece in its own right, but also a fine example of the skills and the steep development of a highly talented artist, who would become one of the exceptional exponents of Dutch 17th century landscape painting.