Jan Josefsz Van Goyen Antique 17c Dutch Golden Age Original Old Master Oil Painting Leiderdorp Landscape
Original, antique, Dutch 17th century golden age landscape painting, with trees, and fishermen on the Leiderdorp River, on an oak wood panel, by Dutch old master landscape artist Jan Josefsz Van Goyen, (1596-1656).
The painting is a quaint landscape, with a lovely eye, for the finest detail. The evening light falls on his landscape subject, as well as two people, (possibly a man and his son/grandson), also on the bridge, fishing. The building along the right shows a lantern hanging outside of a canal house/ grachtenpand.
Jan Josephszoon van Goyen (1596–1656): Dutch Landscape Painter
Jan van Goyen was a prolific Dutch landscape painter and one of the leading figures of the Dutch Golden Age. Born on January 13, 1596, in Leiden, van Goyen’s works captured the serene beauty of the Dutch countryside, canals, and coastal scenes. Over his lifetime, he produced more than 1,200 paintings and 1,000 drawings, leaving a lasting impact on generations of landscape artists.
Early Life and Career
The son of a shoemaker, van Goyen began his artistic training in Leiden and later studied under Esaias van de Velde in Haarlem, where he honed his mastery of landscape painting. At 35, he settled in The Hague, where he established a permanent studio. Despite his immense productivity and innovative techniques, van Goyen’s paintings were undervalued in his time. To make ends meet, he worked as an art dealer and auctioneer and speculated in real estate and tulips—famously becoming a casualty of the Tulip Mania of the 1630s.
Financial struggles plagued van Goyen throughout his life. In 1652 and 1654, he was forced to sell his personal art collection and move to a smaller house. He died in The Hague on April 27, 1656, burdened by heavy debts.
Artistic Style and Technique
Van Goyen was a pioneer of tonal painting, using muted earthy tones—grays, umbers, and greens—to evoke atmosphere and realism. His technique emphasized thin, rapid brushstrokes and economical use of paint. He worked on oak panels or canvas, first applying a tinted ground (usually light brown or ochre). Sketches were drawn rapidly in walnut ink, often based on outdoor studies. Dark areas were painted thinly and transparently, while light areas were made more opaque using white lead, creating depth and realism.
Van Goyen’s subjects included river scenes, winter landscapes, villages, and architectural views. His ability to capture the play of light and atmosphere gave his paintings a timeless, natural quality.
Comparison: This Landscape vs. Van Goyen's Other Works
The natural browns, greens, and blues in this piece mirror the soil and skies of the Dutch countryside. Van Goyen often painted distant horizons with fading tones, giving his works a serene and expansive feel, like River Landscape with Windmill and Ruined Castle (1644), this work captures ordinary rural life without grand embellishments, reflecting the Dutch emphasis on realism.
Van Goyen’s River Landscapes and Seascapes share the same fluid brushwork and tranquil atmosphere seen in this piece. However, this work may feature more detailed foliage and texture than his earlier, simpler compositions.
Van Goyen’s innovations in tonal landscapes influenced countless Dutch painters, including Jacob van Ruisdael, Aelbert Cuyp, and Herman Saftleven. His works laid the foundation for realism in Dutch art, emphasizing mood and subtlety over dramatic effects. Notably, Vincent van Gogh admired his compositions, citing van Goyen’s ability to capture perspective and light.
Van Goyen’s works, including celebrated pieces like An Evening River Landscape with a Ferry (1643) and Wageningen (1650), remain integral to major museum collections worldwide, including the Louvre and the Thyssen-Bornemisza Museum.
Jan Josefsz Van Goyen
(1596-1656)
Landscape on Leiderdorp River with fishermen
Signed lower right, (annotated in red oval indicator)
The painting measures approximately 8" X 4.8"
Oil/Egg Tempera on Board Panel
The painting does appear to have a type of mark/signature/writing, in the lower right. It is unknown/undeciphered at this point.
The painting is in very good condition. There is a small hole, in the very middle of the board panel, as shown. The panel is flat, but is not completely even, (the board is a little shorter, lower left corner). The painting is in original condition, with no overpaints, restorations, or chemical cleanings. Please review the images for details.
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