Toutes peintures à l'huile d'Jan van der Heyden

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87813

Amsterdam

1667(1667) Medium Oil on canvas cyf

83962

Amsterdam, Dam Square with the Town Hall and the Nieuwe Kerk

Date 1667(1667) Medium Oil on canvas Dimensions Height: 85 cm (33.5 in). Width: 92 cm (36.2 in). cjr

62107

Baroque palace courtyard

mk278 copper canvas 11.5 x 16.5cm

62115

Baroque palaces and the Cathedral

mk278 Oil on canvas 20 x 27.5cm

62081

Canal and Church of the scenic West

mk278 canvas board 54 x 63cm

62100

Canal bridge

mk278 canvas board 38 x 53.3cm

62082

Canal house

mk278 wood 35.9 x 44.6cm

62096

Canal scenery

mk278 canvas board 32.5 x 39cm

62097

Canal scenery gentleman

mk278 canvas board 33.7 x 39.7cm

62103

Castle Garden in the rear

mk278 canvas board 39.1 x 52.2cm

62101

Cathedral Landscape

mk278 canvas board 39.4 x 58.4cm

62087

Christ Church

mk278 canvas board 51 x 63.5cm

62089

Church of Jesus landscape

mk278 canvas board 47 x 65cm

62085

Church of the landscape

mk278 canvas board 49 x 65cm

62112

Church of the scenery

mk278 canvas board 33.5 x 36.3cm

62090

Church Square, memories

mk278 canvas board 29.5 x 39cm

62091

City Hall and Plaza

mk278 Oil on canvas 85 x 92cm

62092

City Hall and Plaza

mk278 Oil on canvas 73 x 86.5cm

62093

City Vision

mk278 canvas board 51 x 49.5cm

62086

Construction of the Arc de Triomphe

mk278 canvas board 51.8 x 64.5cm

62099

Dashiqiao

mk278 canvas board 37 x 44.5cm

62105

Deer Hunter

mk278 copper canvas 29 x 37cm

62104

Fantasy buildings

mk278 canvas board 49.7 x 70.7cm

91739

Figures Resting and Promenading in an Oak Forest

Oil on canvas. 28.8 X 33.6 cm.c. 1690-1700 cjr

62083

Forest landscape

mk278 34 x 42.5cm

62113

Globe still life of books and other

mk278 Oil on canvas 77 x 63.5cm

62116

Gothic churches

mk278 Oil on canvas 46 x 60cm

62094

Grand Place

mk278 canvas board 68 x 55cm

62088

Imagine in the cities and towns the Arc de Triomphe

mk278 canvas board 30 x 36.4cm

62114

Imagine the church and buildings

mk278 Oil on canvas 37 x 49.5cm

91975

Jan van der Heyden

1652 - 1712 Medium oil on canvas Dimensions 31.5 X 36 cm (12.4 X 14.2 in) cyf

67357

kanal i amsterdam

62095

Old church landscape

mk278 canvas board 41.4 x 52.3cm

62108

Old church landscape

mk278 canvas board 45 x 56.5cm

62111

Old Palace landscape

mk278 canvas board 24 x 29cm

62084

Scenic old church

mk278 canvas board 55.3 x 70.8cm

62102

Side of Castle Garden

mk278 canvas board 39.1 x 54.9cm

62109

Square cattle

mk278 kapok oil 31.4 x 40.3cm

86936

Street before Haarlem Tower

Medium Oil on oak cyf

62098

Suspension

mk278 canvas board 36 x 44.5cm

87211

The church at Veere

Date 1652 - 1712 Medium Oil on canvas Dimensions 31.5 x 36 cm (12.4 x 14.2 in) cjr

30592

The City Hall in Amsterdam

mk68 Oil on canvas Florence,Uffizi, 1667 Netherlands

62110

The crossroads of the forest landscape

mk278 canvas board 44.5 x 55.4cm

2258

The Dam with the New Town Hall

20616

The Dam with the New Town Hall in Amsterdam (mk05)

1668 Canvas,28 x1/2 x 34 ''(73 x 86 cm)Figures by Adriaen van de Velde Acquired for Louis XVI in 1783

62106

Tiber Island Landscape

mk278 Oil on canvas 37.5 x 46cm

86599

View of a Small Town Square

1660(1660) Medium Oil on oak panel cyf

86610

View of Delft

Date second half of 17th century Medium Oil on wood Dimensions Height: 55 cm (21.7 in). Width: 71 cm (28 in). cjr

43195

View of the Westerkerk,Amsterdam

mk170 circa 1660 Oil on oak 90.7x114.5cm

91911

Wooded landscape

Oil on panel. 31.9 X 43.4 cm.c. 1660-1670 cjr

Jan van der Heyden

1637-1712 Dutch Jan Van Der Heyden Gallery Van der Heyden grew up in Gorcum, but the family moved to Amsterdam around 1650. They lived on Dam Square. As a young guy he witnessed the fire in the old townhall which made a deep impression on him. He later would describe or draw 80 fires in almost any neighborhood of Amsterdam. When he married in 1661 the family was living on Herengracht, the most fashionable canal in Amsterdam. In 1668 Cosimo II de' Medici bought one of his paintings, a view of the townhall with a manipulated perspective. Van der Heyden often painted country estates, like Goudestein, owned by Joan Huydecoper II. He was not good in drawing figures and used for his paintings a metal plate for bricks, a sponge or moss for the leaves. Johannes Lingelbach, Adriaen van de Velde und Eglon van der Neer assisted him drawing the figures. Jan van der Heyden also introduced the lamp post and in 1672 impoved the design of the fire engine. He died in wealth as the superintendent of the lighting and director of the (voluntary) firemen's guild at Amsterdam. Van der Heyden was a contemporary of the landscape painters Hobbema and Jacob van Ruisdael, with the advantage, which they lacked, of a certain professional versatility; for, whilst they painted admirable pictures and starved, he varied the practice of art with the study of mechanics. Until 1672 he painted in partnership with Adriaen van de Velde. After Adrian's death, and probably because of the loss which that event entailed upon him, he accepted the offices to which allusion has just been made. At no period of artistic activity had the system of division of labour been more fully or more constantly applied to art than it was in Holland towards the close of the 17th century. Van der Heyden, who was perfect as an architectural draughtsman insofar as he painted the outside of buildings and thoroughly mastered linear perspective, seldom turned his hand to the delineation of anything but brick houses and churches in streets and squares, or rows along canals, or "moated granges," common in his native country. He was a travelled man, had seen The Hague, Ghent and Brussels, and had ascended the Rhine past Xanten to Cologne, where he copied over and over again the tower and crane of the great cathedral. But he cared nothing for hill or vale, or stream or wood. He could reproduce the rows of bricks in a square of Dutch houses sparkling in the sun, or stunted trees and lines of dwellings varied by steeples, all in light or thrown into passing shadow by moving cloud. He had the art of painting microscopically without loss of breadth or keeping. But he could draw neither man nor beast, nor ships nor carts; and this was his disadvantage. His good genius under these circumstances was Adrian van der Velde, who enlivened his compositions with spirited figures; and the joint labour of both is a delicate, minute, transparent work, radiant with glow and atmosphere.

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