Page:Hofstede de Groot catalogue raisonné, Volume 4, 1912.djvu/365

 SECT, xiv ,MEINDERT HOBBEMA 351 trees surrounding the church, taken in connection with what is known from the local records that the picture must be assigned to the year 1689. But, in spite of all external arguments, it seems, on stylistic grounds, highly improbable that this picture can have been painted so late in a period of absolute decay, during which landscape-painting was becoming almost neglected except by painters like Glauber and other decadents of the worst kind. Besides, it appears impossible that any one, who at thirty years of age abandons painting in favour of a commonplace task like the gauging of wine-casks, should at the age of fifty become all at once capable of pro- ducing a masterpiece like "The Avenue, Middelharnis," the finest picture, next to Rembrandt's "Syndics," which has been painted in Holland. Whether or not this one exception is to be admitted, Hobbema's artistic activity was confined to his youth, from 1659 or a year or two earlier up to 1669. He was a landscape-painter like his master Ruisdael, his dependence upon whom is shown in a great similarity of technique. There are and not merely in Hobbema's early period works by him which resemble so closely those of Ruisdael that, in looking at one of them, one hesitates long in deciding whether it is a Ruisdael in the style of Hobbema or a Hobbema in the style of Ruisdael. In most cases the question may be solved after a very close examination, but sometimes a decision must be deferred. One may recall, for instance, " The Ford " (441) by Ruisdael, formerly in the Six collection and now in the Rijks- museum, Amsterdam, which agrees almost exactly with the Hobbema (140) at Vienna, and, again, the picture of the Huybrechts sale (in) which some regard as a replica of " A Wood with a River " by Ruisdael (483) at Bridgewater House while others take it for a view from the same stand- point by Hobbema. The fact that he was Ruisdael's pupil is revealed in his subject-matter to a less degree than in this close technical resemblance. Ruisdael is much more versatile than Hobbema, who has left no painting of a rough sea or a coast scene or a panoramic view, and only one unim- portant winter scene with a very few views of towns. Ruisdael's so-called northern landscapes have not inspired him to imitation. No picture by him of a rushing mountain-torrent or of a waterfall is known ; the water only splashes down, sometimes, from the trough of the mill-wheel into the mill-pond. We have no rocky or hilly landscapes by Hobbema. Probably he rarely crossed the frontiers of Holland. He paints a country- side more or less thickly set with trees, in which cottages and huts, churches and ruined castles are more or less hidden. A pool or a peaceful flowing stream enlivens the landscape. The water-mill, with an overshot or undershot wheel, is Hobbema's favourite motive, together with that of sunlit fields seen through trees in shadow. With Hobbema we are always in full daylight ; he has no twilight scenes or night-pieces. Great white clouds rise against the blue sky. He knows nothing of the gloomy storm- effects which Ruisdael loves. His foliage has either the fresh light green of early summer, or the dark tone of full summer, greyish-green in the light and already touched with brown and yellow. Red tiled roofs and brick walls, wooden houses which exposure to the weather has turned a purplish grey, and mill-buildings introduce a strong note into the harmony of the landscape ; their reflections in water increase the charm of the