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Dr. Theresa Kutasz Christensen, "Jacob van Ruisdael, The Jewish Cemetery," in Smarthistory, January 11, 2021, accessed May 3, 2021, https://smarthistory.org/ruisdael-jewish-cemetery/.

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Ruisdael, Jacob. “A Forest Marsh with Travelers on a Bank (The Travelers).” metmuseum.org, 2000. https://www.metmuseum.org/art/collection/search/359859?searchField=All&%3BsortBy=Relevance&%3Bft=Jacob%2Bvan%2BRuisdael&%3Boffset=0&%3Brpp=20&%3Bpos=7.

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Dr. Beth Harris and Dr. Steven Zucker, "Jacob van Ruisdael, View of Haarlem with Bleaching Grounds," in Smarthistory, August 9, 2015, accessed May 3, 2021, https://smarthistory.org/ruisdael-view-of-haarlem/.

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Ruisdael, Jacob van. “The Forest Stream.” metmuseum.org, 2000. https://www.metmuseum.org/art/collection/search/437546?searchField=All&%3BsortBy=Relevance&%3Bft=Jacob%2Bvan%2BRuisdael&%3Boffset=0&%3Brpp=20&%3Bpos=11.

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Ruisdael, Jacob van. “A Waterfall in a Rocky Landscape.” The National Gallery, 2016. https://www.nationalgallery.org.uk/paintings/jacob-van-ruisdael-a-waterfall-in-a-rocky-landscape.

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Ruisdael, Jacob van. “A Waterfall at the Foot of a Hill, near a Village.” The National Gallery, 2016. https://www.nationalgallery.org.uk/paintings/jacob-van-ruisdael-a-waterfall-at-the-foot-of-a-hill-near-a-village.

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Ruisdael, Jacob van. “Wheat Fields.” metmuseum.org, 2000. https://www.metmuseum.org/art/collection/search/437549?searchField=All&%3BsortBy=Relevance&%3Bft=Jacob%2Bvan%2BRuisdael&%3Boffset=0&%3Brpp=20&%3Bpos=1.

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Ruisdael, Jacob van. metmuseum.org, 2000. https://www.metmuseum.org/art/collection/search/437545?searchField=All&%3BsortBy=Relevance&%3Bft=Jacob%2Bvan%2BRuisdael&%3Boffset=0&%3Brpp=20&%3Bpos=2.

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Ruisdael, Jacob van. “A Castle on a Hill by a River.” The National Gallery, 2016. https://www.nationalgallery.org.uk/paintings/imitator-of-jacob-van-ruisdael-a-castle-on-a-hill-by-a-river.

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"Ruisdael, Jacob van." In The Columbia Encyclopedia, by Paul Lagasse, and Columbia University. 8th ed. Columbia University Press, 2018. https://login.libproxy.siue.edu/login?url=https://search.credoreference.com/content/entry/columency/ruisdael_jacob_van/0?institutionId=1207

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Jacob van Ruisdael, A Waterfall in a Rocky Landscape, 1682, Oil on canvas, 98.5 x 85 cm, The National Gallery ( Gallery F)

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Jacob van Ruisdael, A Waterfall in a Rocky Landscape, 1682, Oil on canvas, 98.5 x 85 cm, The National Gallery ( Gallery F)

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A Waterfall in a Rocky Landscape, This painting has a sense of stability in it. Everything is painted very liberty and feels as if he is right there enjoying it to its fullest. The way the bridge in the background goes over the water and leads up to a path that looks as if it will lead you to the small chimney in the background that will probably lead you to civilization. Now this work was one that brought too light that Ruisdael may not have traveled to all of the places he painted. This does not change the point of change for me if anything it adds to it because he was able to capture the idea of these places from other sketches and works. Being able to bring so much life to something that another is showing you their interpretation of brings more places for you to share your ideas. The village is so far in the distance you only see chimneys but the bridge and paths showing you this is a place that was/is lived in. Allowing you to come up with your own narrative and sharing those ideals of the times changing and you no longer need to go to the places you would like to paint but look at another's work to transport yourself there.

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Jacob van Ruisdael is the person that my subject is on. I chose him because of his work with landscapes. His work entranced me, I am someone who loves landscapes in real life. So when I was looking upon his works I was enthralled by his use of color, lighting, and mood. Let's first talk about the mood in some of his work and what I mean by mood. Ruisdael uses the skies as a way to show you what mood and emotion that he wants the viewers to feel and experience. He makes sure to paint them in ushc a way that the colors he choses and the time of day he paints look very naturalistic but also international. This brings us into colors. The colors of his works all have this somber feeling to them. They allow you to feel like you are in that moment with him and or those who are in some of his paintings in the background. When you look at the details in the trees, grass, sky, and the lighting. Lighting in a painting can make or break many things. If the lighting in painting in the wrong place or coming from the wrong direction it can destroy the immersion the viewer may feel. Ruisdael does a very good job of making sure that never happens and the lighting only adds to the realism in each of his works. This leads into not only his paintings but his etchings as well. Yes. Ruisdael was not only an amazing painter but also a fantastic etcher. What is etching for those who may not know or need a refresher? Etching is a piece that is carved into metal with special tools and then ink is applied to the metal and then it is pressed onto paper to create a print. Some artists used it as a way to make a bunch of prints of one piece of work to sell more of them and reach a wider audience. This is something that may have predicted the future in a way because Ruisdael became a huge inspiration to many artists. His landscapes were that for admiration and something that inspired other artists to strive to achieve the same type of understanding and realism. I feel that his attention to details in his works was because of his background. Ruisdael was able to get a medical degree and become a physician. This is something I believe that played a role in his attention to detail. From my understanding, to be a physician you need to have a good attention to detail so that when your patients come in you can pick up on little things that are out of normal so you can help diginoses them properly. This attention to detail translates very well into his skill with his art. This allows him to look at objects in life with a whole new perspective. What is this perspective? That is one of making you as a human feel insignificant in the larger world. That no matter what happens and what we do at the end of the day nature will take back what was once its. This perspective is not meant to be down and sad. I feel it was something he tried to convince people to humble them too allow them to see more than themselves in their lives. That way they could think more about those around them and their actions. What those actions not only do for them but others. This brings me to talk about how my project is covering some of his landscapes. I tried to show off some that capture some of the aspects of the bigger picture. Allowing you to see and understand what that perspective can look and feel like in his works. I hope that when viewing his works even if you do now agree or feel the perspective that I have talked about you can come up with a new perspective and or a understanding for his work and how the beauty of what he captures is that of being in the moment and looking at what is going around you in the world now and how you impact it. Jacob van Ruisdael’s work is something that inspires me to not only keep working on my art but also keep working on changing myself to be better for the world around me.

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Jacob van Ruisdael, Wheat Fields, 1670, Oil on canvas, 100 x 130.2 cm, The Met Gallery 965

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Jacob van Ruisdael, Wheat Fields, 1670, Oil on canvas, 100 x 130.2 cm, The Met Gallery 965

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Wheat Fields is a piece that encapsulates the bigger picture in a way that feels very uplifting. This is felt through the warm but cool tones that are used. The lighting feels very warm with the nice yellows and whites. The parents in the distance and their child are running down the road towards them. The painting is brighter near the back and darker near the front. This is something that feels deliberate and the child is running from the darker shaded part of the painting. This feels like they are moving forward in life and while things in the past may not always be nice, there's always a tomorrow, which allows you to change your fate. The bright blues of the sky mixed with the large fluffy clouds providing a glance at something that looks very inviting as you would just reach out and try to feel and touch them. Allowing you to want to savor the moment and relax along with the family.

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Jacob van Ruisdael, Landscape with a Village in the Distance, 1646, Oil on wood, 76.2 x 109.2 cm, Not on view

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Jacob van Ruisdael, Landscape with a Village in the Distance, 1646, Oil on wood, 76.2 x 109.2 cm, Not on view

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Landscape with a Village in the Distance is one of his older pieces. This landscape was done in his early adult years late teens around the time he was about eighteen years old. You can see the start of his ideas showing up in this piece. The piece is very bright and has a very light and fantastical feeling to it, the man walking in the background looking like he is either coming away from or going to the village in the background. The man is alone and because of that, it makes you think about why is walking alone what is going on in his head. That feeling of loneliness is something that makes the scene around him feel even more tranquil. I believe this because the man is either walking back home or towards a village to be with other people or he is walking away from them something made him want to leave and be in nature to get away from it all.

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Jacob van Ruisdael, View of Haarlem with Bleaching Grounds, 1670-1675, oil on canvas, 62.2 x 55.2 cm, NA

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Jacob van Ruisdael, View of Haarlem with Bleaching Grounds, 1670-1675, oil on canvas, 62.2 x 55.2 cm, NA

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This piece is recognized because of the church in the background. While this is a landscape the sky is a major aspect of this. This is one of the pieces that I am showing that is the most lived in. It is showing people at work using the land that they altered to their needs. This works with the change they are changing the environment around them so they can do the work they need to survive to make money and feed not only themselves but their family. Now it may seem like they are farm fields but they are not they are linen fields. Places they lay out linen too bleach it and use it to their advantage. This change is one that shows that the environment may be destroyed in a technical sense. It is still being used for the good of these people and the good of this city using it to strive to create a successful place for them and those to come.

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Jacob van Ruisdael, The Jewish Cemetery, 1650, 142.2 x 189.2 cm, Oil on canvas, Detroit institute of art

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Jacob van Ruisdael, The Jewish Cemetery, 1650, 142.2 x 189.2 cm, Oil on canvas, Detroit institute of art

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The Jewish Cemetery This is one of the ultimate pieces to show Ruisdael's view on change and the environment and world taking back what was once it. A cemetery is the best way to show death to a viewer in a very literal sense. It is where bodies and people too sleep for their final time and place their beds for the rest of eternity. This Piece is fantastical because while death is a heavy subject this work makes it feel calming and something fantastical you have these beautiful ruins of a castle in the background and nature crawling all over and around the tombs of those who have passed. The clouds are painted baby blue and feel as if they are solid objects. Then there is a rainbow in the background, something that we see of good luck and something that is fantastical. Nature is overtaking but no onesies mad about it. The world is continuing to move forwards after these people have passed but what they did made an impact on the earth.

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Jacob van Ruisdael, A Forest Marsh with Travelers on a Bank (The Travelers), 1628-1682, Prints, 18.4 x 27.1 cm, Not on view

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Jacob van Ruisdael, A Forest Marsh with Travelers on a Bank (The Travelers), 1628-1682, Prints, 18.4 x 27.1 cm, Not on view

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A Forest Marsh with Travelers on a Bank. (The Travelers) This is an etching. As in the intro, a gave a little detail on etching that I will go back over. They are prints that are created by taking special tools and carving them into a piece of metal. The groves that you carve into the metal then those groves hold the ink and those become lines and shading in the print. This piece is amazing; all of the detail and shading he was able to achieve with his printmaking is on a whole new level. This piece feels like a large change not only in his skill pool but in the environment he is choosing to show. There is a tree falling. It looks like a young tree as well and it makes you think about how to feel if it died or was another outside source, such as a storm or human interaction. Along with human interaction, we have people traversing the environment in front of us there are two people with their dog they could just be moving through or they could be out hunting for their next meal or to sell it. The changes in environment and questions that this piece provides us makes us as onlookers have a lot of questions but at the same time just enjoy the details presented in front of us.

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Jacob van Ruisdael, The Forest Stream, 1660, Oil on canvas, 99.7 x 129.2 cm, Not on view

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Jacob van Ruisdael, The Forest Stream, 1660, Oil on canvas, 99.7 x 129.2 cm, Not on view

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The Forest Stream is a piece that feels very magical, something that is drawing me in and makes me want to stay and experience it for long periods of time and get lost inside of the world it is building around. The way that the trees are painted the trunks feel strong and sturdy where the lears feel floaty and light. The rocks have the warm red coloration too that allows you too feel that while the sun may not have been bright it was warm out. The water is calm and that allows you to see that the wind is not blowing as much. There are no signs of humans in this piece and it makes it feel like it is something that nature just took back and or has not had a chance to have humans interfere with. The feeling of naturalism in this is fantastic and exhilarating.

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Jacob van Ruisdael, A Waterfall at the Foot of a Hill, near a Village, 1665-70, Oil on canvas, 84.8 x 100 cm, The National Gallery (Gallery F)

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Jacob van Ruisdael, A Waterfall at the Foot of a Hill, near a Village, 1665-70, Oil on canvas, 84.8 x 100 cm, The National Gallery (Gallery F)

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A Waterfall at the Foot of a Hill, near a Village this piece is one that shows us that Ruisdael was ever-changing and growing with this style. This piece was one that was created after he met another artist. Jacob was so impressed with this artist's style and how they chose to render the landscapes in front of them with a sketch lifestyle that he wanted to learn and add that aspect to his art. This plays into that idea of changing that he adds to all of his pieces in this one the clouds are rolling in as the water is starting to crash upon the rocks, as you look into the distance you see a herd of sheep that feel very insignificant in the whole picture but in reality, while they may be small they mean something to someone. If a storm was going to come in now it would probably kill the sheep and whoever was relying on them for money or food would be devastated. These types of things are what make his work just have you question everything.

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Imitator of Jacob van Ruisdael, A Castle on a Hill by a River,  1700, Oil on canvas, 140 x 176 cm, Main collection (not on display)

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Imitator of Jacob van Ruisdael, A Castle on a Hill by a River,  1700, Oil on canvas, 140 x 176 cm, Main collection (not on display)

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A castle on a hill by a River is a painting done by an imitator of Jacob van Ruisdael. I feel it is important to show off these types of works because they add to the idea of Ruisdael and the feeling of moving forward. He knew he would not be around forever. He used this to share his knowledge with others and then those people did the same. This piece was believed to be passed off of an early work that may have been lost but was displayed in Bentheim castle. The piece shows a yellow muted overlay. This is not the work of the painter but the varnish of the time. You can tell the artist was trying to capture Ruisdael's movement and naturalist way of making the set pieces feel alive in the way this artist painted the clouds. Along with the large castle in the back is showing up a place that is lived in a place bustling with people, but only one person is insight. Why is that? These are questions that this person's work does well to have us think of because that is what Ruisdael’s work does.