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Museo Nacional Thyssen-Bornemisza, Madrid
Jan Josephsz. van Goyen

Winter Landscape with Figures on Ice

1643
Oil on panel.
39.6 x 60.7 cm
Museo Nacional Thyssen-Bornemisza, Madrid
Inv. no.
167
(
1957.7
)
ROOM 23
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  
Jan Josephsz. van Goyen is considered to be one of the leading 17th-century Dutch landscape painters. Among his teachers was Esaias van der Velde in whose Haarlem workshop he spent around one year. Van der Velde’s style is evident in Van Goyen’s early work and in the subject matter of some of his views, particularly those related to the seasons. Van Goyen was also one of the leading exponents of the so-called tonal painting, an approach that is fully consolidated in his paintings of the late 1620s. At this period the artist produced simple compositions in which he captured images of everyday life in a natural setting dominated by man. He used lower horizon lines at this date and placed most emphasis on the sky and the atmospheric effects, while his views are bathed in a uniform tonality of browns, greys and greens that give the paint surface an almost monochromatic appearance.

The present panel, which is signed and dated 1643, is a fine example of his mature style. In the 1640s Van Goyen’s style changed with regard to his work of the previous decade and he discarded the diagonal lines that he had previously used to create depth. He also modified the colouring that he had deployed to create striking atmospheric effects. His views of the 1640s, such as the present example, have broader horizons and open onto huge areas of land.His earlier diagonals are now replaced by an interplay of horizontal lines such as the ones here that create the precise horizon and strip of land on which the city is located.

The city in this view has been identified as Dordrecht. The large building that looms over the rooftops of the small houses and windmills on the riverbank is the Grote Kerk seen from its north side. This Protestant church was burned in 1457 and rebuilt between 1460 and 1502. Van Goyen emphasises its basilical ground-plan and its heavy tower which does not have the traditional spire due to the unstable land on which it is built. The frozen terrain in the foreground is the river Oude Maas or Old Maas. The view, like all those by this painter, was devised and painted in the studio on the basis of numerous preparatory drawings that Van Goyen made on his sketching trips.

Gaskell noted that in the early 1640s Van Goyen, who was living in The Hague, returned to winter scenes and painted a large number of views of icy views with Dordrecht in the background. Gaskell also noted the importance of the numerous figures on the frozen surface of the river. Engaged in their normal activities such as transporting merchandise, they also have time for amusement, for example, the kneeling figure on the right who prepares to fish or the boys with long poles about to engage in a game. These figures are depicted in correctly diminishing proportion and thus help to emphasise the ordered recession of the pictorial space.

Mar Borobia
17th Century17th Century - Dutch paintingPaintingOilpanel
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Winter Landscape with Figures on Ice. Paisaje invernal con figuras en el hielo, 1643
Winter Landscape with Figures on Ice
Jan Josephsz. van Goyen

©

Museo Nacional Thyssen-Bornemisza, Madrid

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Winter Landscape with Figures on Ice. Paisaje invernal con figuras en el hielo, 1643
Winter Landscape with Figures on Ice
Jan Josephsz. van Goyen

©

Museo Nacional Thyssen-Bornemisza, Madrid

Terms of Use

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