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Updated: June 16, 2025
"Do you know, I shouldn't be surprised if Isabel, in the long run, cost you more than Hobbema. Who is this at the door?" The person at the door was Robert Moody, returned from the bank. Mr. Felix Sweetsir, being near-sighted, was obliged to fit his eye-glass in position before he could recognize the prime minister of Lady Lydiard's household. "Ha! our worthy Moody. How well he wears!
In the great landscape painter, as in the other renowned Dutch artists of the seventeenth century, the influence of Rembrandt is marked. Meindert Hobbema was born in 1638, married in 1638, and died in poverty at Amsterdam in 1709. His works, which were neglected in his lifetime, now fetch much more than their weight in gold.
But the palm remains with the landscapists of Holland, with Wynants the painter of morning, with Van der Neer the painter of night, with Rusydael the painter of melancholy, with Hobbema the illustrator of windmills, cabins, and kitchen gardens, and with others who have restricted themselves to the expression of the enchantment of nature as she is in Holland.
Flowers by Van Huysum, David, and Heim; butterflies painted by Abraham Mignon; Van Eycks, undoubted Cranachs and Albrecht Durers; the Giorgione, the Sebastian del Piombo; Backhuijzen, Hobbema, Gericault, the rarities of painting none of these things so much as aroused their curiosity; they were waiting for the sun to arise and shine upon these treasures.
There is a view of Lombaerdzyde which no one strolling on the dunes near Nieuport should fail to see a perfect picture, as typical of the scenery in these parts as any landscape chosen by Hobbema or Ruysdael.
It is startlingly beautiful, and so characteristic that after seeing one or two of Hobbema's pictures we are likely to know his work again wherever we may find it. Hobbema got at the soul of a landscape. It was as if one painted a face that was dear to one, and not only made it a good likeness but also painted the person as one felt him to be all the tenderness, or maybe all the sternness.
Some of them, not content with their native land, came to Italy in search of hills, bright skies, and great ruins, and became a circle of choice artists, such as Both, Swanevelt, Pijnacker, Breenbergh, Van Laer, and Asselin; but the palm remains with the true Dutch landscape painters with Wynants, the painter of morning; Van der Neer, the painter of night; Ruysdael, the painter of melancholy; Hobbema, the painter of windmills, cottages, and kitchen-gardens; and with others who contented themselves with expressing the charm of the modest scenes of their native land.
These men took for their masters the seventeenth-century painters of Holland. Old Crome, so called to distinguish him from his son, founded his art upon that of Hobbema, and came so close to him in his early years that it is difficult to distinguish their pictures. In the works of this 'Norwich School' the wide horizons of the Dutch artists often occur.
On a glowing September morning the scenery of the Allier looked its very best. Never as long as I live shall I forget the beauty of that drive. Lightest, loveliest cumuli floated athwart a pure, not too dazzlingly blue sky, before us stretched avenue after avenue of poplar or plane trees, veritable aisles of green letting in the azure, reminding me of the famous Hobbema in our National Gallery.
Flowers by Van Huysum, David, and Heim; butterflies painted by Abraham Mignon; Van Eycks, undoubted Cranachs and Albrecht Durers; the Giorgione, the Sebastian del Piombo; Backhuijzen, Hobbema, Gericault, the rarities of painting none of these things so much as aroused their curiosity; they were waiting for the sun to arise and shine upon these treasures.
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