Jacob Isaacksz. van Ruisdael (1628/1629–1682), Woodland Vistas, c. 1670, Oil on canvas, 67.0 x 53.7 cm, Christie’s, London, December 2024; preview scheduled for February 2025, NYC, Christie’s Old Master Evening Sales
Hailing from Haarlem, a city celebrated for its landscape painters, Jacob van Ruisdael built upon the foundations laid by artists such as his uncle, Salomon van Ruysdael (1602-1670) and Cornelis Vroom (1591-1661). While these predecessors favoured serene depictions of the countryside, Ruisdael expanded the genre by incorporating a greater variety of natural elements.
His works consistently transcend mere decorative qualities, engaging profoundly with the literary culture of his time. Ruisdael’s densely packed forests, with their twisting roots, fallen trees, and dappled sunlight, reflect themes found in contemporary Dutch literature. Local rhetorical societies often explored the power and fragility of nature, using landscapes as metaphors for moral and spiritual struggles. Ruisdael’s forest scenes echo this tradition, employing romantic allegories to present nature not as a passive backdrop but as an active, almost mystical force. His depictions of light breaking through dense foliage or streams winding through chaotic undergrowth evoke transcendence, renewal, and the sublime power of creation.
Ruisdael developed various formulas for depicting busy woodlands. Some paintings focus on dense, almost overwhelming greenery, while others rely on the interplay of light and shadow to guide the viewer’s eye through complex, layered scenes. His forests range from shadowy, enclosed spaces to sunlit clearings, capturing the diversity and emotional resonance of the woodland environment.
Many of Ruisdael’s forest compositions now appear altered due to the ageing of pigments and light exposure. The vibrant greens he originally employed have oxidised over centuries, taking on a brownish hue and imparting an autumnal tone that may not have been intended when the works were painted. This colour shift adds an unexpected dimension, aligning with the themes of change and transience already present in his allegorical interpretations of nature.