Landscape with a cottage and a barn

Jan van Goyen 1596 - 1656

Summary

Simple cottages and sand dunes feature prominently in Van Goyen's work of the 1630s. This new subject inspired his early development of a tonal palette, here used with highlights of yellow. The diagonal lines of the cottage and trees, as well as the path winding into the distance, add depth to the scene. Van Goyen was a prolific artist, producing a total of over 1,200 paintings and 800 drawings. He was not wealthy, however: he invested heavily in the speculative tulip market and suffered great financial loss during its crash in 1637. Van Goyen was a property speculator as well as a painter and his sketchbooks often included small, rapid drawings for potential developments of the area. His ability to grasp a subject quickly for his work may well have helped to form his landscape style. His early work was highly finished and brightly coloured, with lively figures strung across the foreground, similar to that of his teacher, Esaias van de Velde. Van Goyen retained the naturalism of his master, but began to use a more subdued palette. He introduced a strong sense of geometry and recession, and reduced the number of figures, putting them in the middle distance. The result was a harmonious union of figures and landscape - an effect emulated by English landscapists.

Display Label

Landscape with a cottage and a barn 1632 Jan van Goyen 1596-1656 Oil on panel Van Goyen was property speculator as well as a painter, His sketchbooks often included small rapid drawings for potential developments of the area. This quick grasp of the totality of a subject may well have helped form his style. His early work was highly finished and brightly coloured, with lively figures strung across the foreground, similar to his teacher, Esaias van de Velde, whose work can also be seen in this room. Van Goyen retained the naturalism of his master but began to use a more subdued palette. He introduced a strong sense of geometry and recession and reduced the number of figures, putting them in the middle distance. The result was a harmonious union of figures and landscape which gave a feeling of peace and well-being. This effect was later taken up by painters of the English countryside. Assheton - Bennett bequest 1979.458