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Meindert Hobbema


One of the Greatest Painters Of All Time

Dutch Baroque Landscape Painter

Stylistically influenced by the following painters; Jacob van Ruisdael, Rembrandt, Peter Paul Rubens and Jacob Tintoretto

Education - studied under Jacob van Ryusdael

Cause of Death - Heart Failure

Burial Place -  He died destitute and was buried in the pauper section of the Westerkerk cemetery in Amsterdam.

 Wooded Landscape with Figures Near a Church, circa 1660
Wooded Landscape with Figures Near a Church, circa 1660 Giclee Print
Hobbema, Meindert
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 Avenue at Middelharnis
Avenue at Middelharnis Art Print
Hobbema, Meindert
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 Entrance to a Village
Entrance to a Village Art Print
Hobbema, Meindert
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 Description of Meindert Hobbema Painting Style

Raised in the Dutch countryside, Meindert Hobbema took to art at an early age and found drawing and painting as natural as walking and talking. He was a perceptive observer of the natural environment, in all its subtle manifestations of shadow, color, and especially the effects of light. He felt obliged as a artist to record and reveal the natural glory of the landscape as realistically as possible. Hobbema favored scenes that suggested a feeling for the passage of time, such as the break of dawn, the transition from light to dark. The painter derived his colors from nature's own palette, for spring and autumn--he favored a delicate range of intervening greens for foliage, shimmering shades of blue and quiet grays for the sky.

 Description of the Baroque Painting Style

The Baroque  style is distinguished by the emotional effects of color and  overall harmony of the painting.  The Baroque movement started in  Italy, quickly spreading to the rest of Europe.  This style  flourished in Europe between 1580 and 1770, mainly in Catholic countries, where it played a essential role in the crusading work of the Catholic Counter-Reformation. The Roman Catholic Church's reaction to the Reformation, known as the Counter-Reformation, reaffirmed the one-time medieval notion of art as the servant of the church, adding certain demands for simplicity, precision, realism, and an emotional stimulus to piety. For the fanatics of the Counter-Reformation, a paintings was useful only as propaganda material, the religious subject matter being all-important.

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