An artwork on Galleree from Minneapolis Institute of Art.
About the artwork
Wooded Landscape with Watermillc. 1665
Artist: Meindert Hobbema
Dutch, 1638–1709
Wooded landscape with watermill, on the right bank of stream to left of center, a huntsman in a scarlet coat. Beyond the mill in left background, a tile-roofed cottage. To the right a herdsman with cattle in a road. The scene is the same as that in the Louvre (2404) painting in which the mill is seen from side. The figures are attributed to Lingelbach. Frame 84.32, c.1650, Dutch ebonized fruitwood ripple frame, 42 x 49 in. Purchased from Paul Mitchell, London. The William Hood Dunwoody Fund
39 3/8 x 52 3/4 x 1 1/4 in. (100.01 x 133.99 x 3.18 cm) (canvas)
38 5/8 x 52 in. (98.11 x 132.08 cm) (sight)
Oil on canvas
Painting
Netherlands
17th century
The William Hood Dunwoody Fund
In the hush of a quiet gallery, beneath soft, diffused light, a stunning landscape captures attention. Amid the gentle rolling hills lies a serene water mill, its reflection shimmering in the tranquil waters. It speaks of peace and timelessness, yet, an unexpected twist beckons further scrutiny—an enthusiastic sportsman in a bright red coat punctuates the scene.
His vibrant coat leaps forth against the calm backdrop, as if he's interrupted a moment of stillness to take aim at wildfowl flitting across the horizon. Yet, in a curious twist of fate, it is revealed that he wasn’t always part of this picture-perfect world. This lively figure was added later, a connection made in the early years of the 19th century by another skilled hand.
As we breathe in the story, a glimpse into the past reveals an 1809 sale catalogue, which describes the original painting without our sportsman: “The chef d’oeuvre of this celebrated painter, a beautiful landscape with a water mill—the figures and cattle are judiciously introduced, with appropriate spirit of pencil, by [Nicholas] Berchem.” The imagery crafted by Berchem conjures pastoral peace, yet it remains incomplete, longing for a touch of the lively spirit that the hunter would bring.
Years later, in 1828, another estate-sale catalogue introduces us to this enigmatic character: “…in the foreground, on the right, a sportsman dressed in red is shooting at wild fowl….” There he stands, embodying the dynamism that the painting craved, though questions linger like shadows at dusk—why was he added?
It was a time when sporting subjects held immense allure, especially in England, captivating the hearts and pockets of art collectors. Perhaps the painting’s owner, striving to deepen the painting's desirability, orchestrated his inclusion in a bid to elevate demand and inflate its value at auction.
In this artistic ballet of inspiration and commerce, we encounter not only a landscape transformed by narrative but also a reflection on our ceaseless affinity for stories. The addition of that red-coated sportsman serves as a reminder: beyond colors and brushstrokes lies the intricate dance of human intentions—a echo of desire entwined within the artistry.
About the artist
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