Forest Scene
Jacob van Ruisdael·c. 1655
Historical Context
Ruisdael's Forest Scene from around 1655, now in the National Gallery of Art, captures the dense atmospheric woodland that became his signature subject and his most influential contribution to the landscape tradition. Painted at the beginning of his Amsterdam period, when he had moved from Haarlem and was establishing himself in the Dutch Republic's commercial capital, the work shows his mature command of compositional structure and tonal drama. The interplay of light and shadow across different tree species, the careful rendering of reflected light in water, and the overcast sky creating diffused illumination were all studied effects that made his forest scenes simultaneously convincing as nature studies and compelling as emotional experiences.
Technical Analysis
Ruisdael builds up the dense forest canopy with layered glazes of dark green and brown, creating a convincing sense of depth and shadow. Light filtering through gaps in the foliage is rendered with warm highlights that enliven the otherwise somber palette. The varied textures of bark, foliage, and forest floor demonstrate his virtuoso command of natural detail.
Provenance
Probably owned by Francis Nathaniel, 2nd marquess Conyngham [1797-1876], Mount Charles, County Donegal, and Minster Abbey, Kent.[1] Sir Hugh Hume-Campbell, 7th bart. [1812-1894], Marchmont House, Borders, Scotland, by 1857;[2] (his estate sale, Christie, Manson, & Woods, London, 16 June 1894, no. 48); (P. & D. Colnaghi & Co., London); sold 1894 to Peter A.B. Widener, Lynnewood Hall, Elkins Park, Pennsylvania; inheritance from Estate of Peter A.B. Widener by gift through power of appointment of Joseph E. Widener, Elkins Park, Pennsylvania; gift 1942 to NGA. [1] The only source of information concerning the picture's whereabouts prior to 1857 is Hofstede de Groot, whose listing of the painting is extremely confusing (Cornelis Hofstede de Groot, _A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century_, trans. Edward G. Hawke, 8 vols., London, 1907-1927: 4(1912):92, no. 285, possibly also 119, no. 367, 134, no. 418, 203, no. 643c). It seems that any or all of his four entries (nos. 285, 367, 418, and 643c) may contain information that relates to the _Forest Scene_, but these entries also contain additional and contradictory provenance listings, which must refer to at least one other painting. It nonetheless seems likely that before the _Forest Scene_ was acquired by Sir Hugh Hume Campbell, it was indeed owned by a member of the Conyngham family of Ireland, most probably the 2nd marquess, but also possibly his father, Henry, 3rd baron and 1st marquess Conyngham (1766-1832). [2] Gustav Friedrich Waagen, _Treasures of Art in Great Britain: Being an Account of the Chief Collections of Paintings, Drawings, Sculptures and Illuminated Mss., 3 vols., London, 1854-1857, supplement: 441-442.
