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Lot Essay
Salomon van Ruysdael, the uncle of Jacob van Ruisdael, is recorded as a member of the Haarlem painters' guild in 1623, but it is not known who his teacher was. His early work shows the influence of Esaias van de Velde and in the 1620s and 1630s he developed a more monochrome style, his so-called tonal phase, a period during which the present composition was painted. His dune landscapes from this period were particularly influenced by Pieter Molijn, both finding inspiration in the sandy and hilly terrain close to Haarlem. Van Ruysdael's river landscapes, on the other hand, betray a knowledge of the work of Jan van Goyen. Later in his career his colours became brighter and his compositions started changing, probably due to the influence of his nephew.
In many instances, recognisable towns can be seen in the distance of his landscapes, for instance Arnhem, Haarlem, Deventer and, as in the present picture, Amersfoort. Here the two main churches of Amersfoort can be identified as the 'Lieve-vrouwe kerk' (the Church of Our Lady) and behind it the 'Sint Joris kerk' (the Church of St George). The artist used a similar composition for his View of the Abbey of Egmond again in 1640 (Kimbell Art Museum, Fort Worth, Texas; see W. Stechow, op. cit., p. 105, no. 239).
In many instances, recognisable towns can be seen in the distance of his landscapes, for instance Arnhem, Haarlem, Deventer and, as in the present picture, Amersfoort. Here the two main churches of Amersfoort can be identified as the 'Lieve-vrouwe kerk' (the Church of Our Lady) and behind it the 'Sint Joris kerk' (the Church of St George). The artist used a similar composition for his View of the Abbey of Egmond again in 1640 (Kimbell Art Museum, Fort Worth, Texas; see W. Stechow, op. cit., p. 105, no. 239).