Winter in Holland: Skating Scene
Aert van der Neer·1645
Historical Context
Aert van der Neer's Winter in Holland: Skating Scene, painted in 1645, belongs to the firmly established Dutch tradition of winter landscape that stretches from Hendrick Avercamp's earliest career. Van der Neer brings to the genre his characteristic atmospheric sensitivity, treating the grey-white winter sky not as an empty backdrop but as an active compositional element that blankets the flat Dutch landscape with diffuse, pearly light. The skating scene in the Dutch Republic was a social institution: the frozen canals and polders became egalitarian spaces where different classes mingled, and painters from Avercamp onward catalogued the varieties of human activity on the ice. Van der Neer's contribution was to subordinate the figure groups to an overwhelming sense of winter atmosphere, the chill palpable in the tonality of his skies.
Technical Analysis
Van der Neer builds the winter atmosphere through a carefully graduated sky that provides the dominant tonal note for the entire composition. The frozen surface is rendered as a subtle tonal shift from the sky, the ice picked out with pale warm highlights. Figures are small and distributed across a wide horizontal format, each contributing to the sense of communal winter activity.
Provenance
Sir George Donaldson [1845-1925], London, by 1902;[1] (his sale, London, 1906); purchased 1907 by William A. Clark [1839-1925];[2] bequest 1926 to the Corcoran Gallery of Art, Washington; acquired 2014 by the National Gallery of Art. [1] Cornelis Hofstede de Groot, _Beschreibendes und kritisches Verzeichnis der Werke der hervorragendsten holländischen Maler des XVII. Jahrhunderts_, 10 vols., Esslingen and Paris, 1907-1928: 7(1918):501, no. 568. J.A. Viccars, who explains his reasoning in correspondence with the Corcoran Gallery of Art in 1967 and 1984/1985 (five letters in NGA curatorial files), suggests that Hofstede de Groot's numbers 551 and 567, as well as 568, are all the same painting. No. 551 is noted as being no. 69 in the Van Leyden sale in Paris on 10 September 1804. No. 567 is noted as being no. 118 in Madame de Falbe's sale at Christie's in London on 19 May 1900; Viccars writes that the painting was bought at this sale by the London dealer P. and D. Colnaghi. [2] Dana H. Carroll, _Catalogue of Objects of Fine Art and Other Properties at the Home of William Andrews Clark, 962 Fifth Avenue_, Part I, Unpublished manuscript, n.d. (1928): 130, no. 65.



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