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Museo Nacional Thyssen-Bornemisza, Madrid
Gerrit Adriaensz. Berckheyde

The Nieuwezijds Voorburgwal with the Flower Market, Amsterdam

1686
Oil on canvas.
53.7 x 63.9 cm
Museo Nacional Thyssen-Bornemisza, Madrid
Inv. no.
42
(
1959.3
)
ROOM 26
Level 2
Permanent Collection
1 2 3 4 5 6 7 8 9 10 11 12 14 13 15 16 17 18 22 19 20 21 23 24 25 26 27 28 29 Recommended start of the visitClassical rooms
1 14th Century. Early Italian Painting 2 15th Century. German and Spanish Painting 3 15th Century. Early Netherlandish Painting 4 15th Century. Italian Painting 5 15th and 16th Centuries. Renaissance Portraiture 6 16th Century. Villahermosa Gallery 7 16th Century. Italian Painting 8 15th and 16th Centuries. German Painting 9 15th and 16th Centuries. German Painting 10 16th Century. Netherlandish Painting 11 Tiziano, Tintoretto, Bassano and  El Greco 12 17th Century. Caravaggio and Baroque Painting 13 17th Century. Italian, French and Spanish Painting 14 17th Century. Italian, French and Spanish Painting 15 17th Century. Italian, French and Spanish Painting 16 18th Century. Italian Painting 17 18th Century. Italian Painting 18 18th Century. Italian Painting 19 Classical rooms 20 Classical rooms 21 Classical rooms 22 18th Century. Italian Painting 23 17th Century. Dutch Painting. Landscape 24 18th Century. French and English Painting 25 17th Century. Dutch Painting. Scenes of Daily Life and Interiors 26 17th Century. Dutch Painting. Landscape 27 17th Century. Dutch Painting. Portrait 28 17th Century. Dutch Painting. Landscape 29 19th Century. European Painting. Goya and Romanticism  
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Discover some of the secrets and details invaluable to the human eye in this work.

Gerrit Adriaensz. Berckheyde painted urban views of cities such as Haarlem, Amsterdam, The Hague and Cologne. As a young man he also visited both Cologne and Heidelberg with his brother Job. Berckheyde studied the work of his predecessor Pieter Saenredam and faithfully reflected the principles of that artist, who invented the genre of architectural paintings with buildings depicted in a careful, rigorous manner. In addition to painting scenes of town squares, buildings and streets, Berckheyde also produced Italianate landscapes and hunting scenes although his urban views are considered to be his finest works, whose buildings and locations he repeated with variants in his paintings. Berckheyde generally depicted buildings in conjunction with large spaces such as town squares, which he filled with groups of small figures that function to emphasise the architectural elements.

In the present canvas Berckheyde depicts a central location in Amsterdam, specifically the canal that runs behind the Town Hall, the city’s most celebrated building and the symbol of its economic might. The canal, which opens up the composition and creates the spatial depth as it recedes, was covered over in 1884 to construct a street. On the left bank, which follows the curve of the canal, Berckheyde has depicted the flower market set among trees with slender trunks. Here we see groups of standing and seated figures, making their purchases from the flowers and plants arranged on the ground in attractive pots. In the right in the middle distance is the Town Hall, designed by Jacob van Campen and built between 1648 and 1665, crowned with an octagonal tower with a dome. On the top of the tower is a sculpture of Atlas holding up a celestial sphere by Artus Quellinus. The right bank of the canal creates a marked diagonal through the façades of the narrow houses with their stepped profiles and steep roofs.

Gaskell referred to four more versions of the present work but only this one is dated. Basing themselves on the changes that took place in Amsterdam over a period of around fifteen years, Walsh and Schneider established a chronology for views of this location that starts around 1665 with a drawing by Jan Abrahamsz. Beerstraten, which has the same viewpoint as the present work and shows the octagonal tower of the Town Hall with scaffolding on it. This is followed by two paintings by Berckheyde now in Amsterdam and St. Petersburg, dated to around the late 1660s or early 1670s, followed by the one in the Carter collection in Los Angeles and the one formerly in the collection of Lord Francis Pelham-Clinton- Hope, which are somewhat later than the previous two. The series concludes with the present canvas, which is dated 1686.

The present painting was in the collection of Sir Francis Cook and his heirs from the early 20th century until it was sold anonymously in London in 1959, the year that it was acquired for the Thyssen-Bornemisza collection.

Mar Borobia

17th Century17th Century - Dutch paintingPaintingOilcanvas
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The Nieuwezijds Voorburgwal with the Flower Market, Amsterdam. Gerrit Adriaensz. Berckheyde
The Nieuwezijds Voorburgwal with the Flower Market, Amsterdam
Gerrit Adriaensz. Berckheyde

©

Museo Nacional Thyssen-Bornemisza, Madrid

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The exploitation rights of the images correspond to the Fundación Coleccion Thyssen-Bornemisza, F.S.P. The Fundación authorizes the downloading of high-resolution images from its website for private use, use for educational and research purposes, and other non-commercial uses.

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The Nieuwezijds Voorburgwal with the Flower Market, Amsterdam. Gerrit Adriaensz. Berckheyde
The Nieuwezijds Voorburgwal with the Flower Market, Amsterdam
Gerrit Adriaensz. Berckheyde

©

Museo Nacional Thyssen-Bornemisza, Madrid

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