The Rijksmuseum presents the first ever major retrospective of work by Adriaen van de Velde (1636-1672), one of the greatest landscape painters of the Golden Age. 24 June to 25 September 2016.
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The exhibition features sixty paintings, preliminary studies and drawings by the talented artist, who died tragically young. They come from private collections and from museums including the Louvre, the Gemäldegalerie Alte Meister in Kassel, Museo Thyssen Bornemisza Madrid, the Mauritshuis and the British Museum.
Adriaen van de Velde
The beach at Scheveningen, 1658. Gemäldegalerie Kassel
For much of his short life – he died when he was just thirty-five – he was regarded as one of the greatest artists of the seventeenth century. During his lifetime he was known as an outstanding painter of people and animals. His posthumous fame endured until the mid-twentieth century. Today, the public is barely aware of his name, and the Rijksmuseum and the Dulwich Picture Gallery in London have decided to rectify this situation.
Son of the famous marine painter Willem van de Velde the Elder and brother of the equally famous Willem van de Velde the Younger, child prodigy Adriaen became a landscape painter – and a phenomenal draughtsman. His figure and animal studies – usually drawn in red chalk – are regarded as sublime examples of the genre. His drawings reveal that he made meticulous preparations for his popular painted landscapes. Other artists also regularly asked him to paint figures in their landscapes and townscapes.
Adriaen van de Velde
Couple in a Landscape,, 1667. Rijksmuseum Collection.
On loan from Amsterdam City Council (A. van der Hoop bequest)
By reuniting Van de Velde’s refined paintings with their preliminary drawings, the exhibition presents a representative idea of his oeuvre and gives visitors a unique insight into Van de Velde’s working method: many of the motifs in the detailed drawings appear in his paintings. Like no other artist of his time, Van de Velde enables viewers to follow every stage of the creative process.
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