Scholarly Article

Dutch Paintings of the Seventeenth Century: Horsemen and Herdsmen with Cattle, 1655/1660

Part of Online Edition: Dutch Paintings of the Seventeenth Century

Publication History

Published online

Golden sunlight pours across a landscape with three people on horseback and two more people near a flock of sheep, a cow, and a mule in this horizontal painting. The people all have pale, peachy skin. The horizon is about a third of the way up the composition and is lined with towers on distant, hazy, pale yellow hills. Two of the horses are to the right of center, both facing us. The horse on the left is white, and the rider wears an azure-blue tunic and red brimless cap. The other horse is brown with a white blaze, and its rider wears a red tunic and black cap. That second rider points with a whip to the sitting and standing people near the sheep, to the right. Those two people wear brown jackets, and the standing man has a mustache. The seated person rests a long staff over one shoulder. About half of the nine sheep there lie on the ground, and the others stand. The cow dips her head down to the sheep, and the splay-footed donkey has baskets hung to each side. This grouping is in front of a copse of tall trees that nearly reach the top edge of the composition. The third rider is to our left and a short distance away. That dark brown horse gallops to our right. A short distance away, another herdsman along the left edge of the composition wears a red tunic and brown pants, and he rests a long staff on one shoulder. One cow stands and one lies down next to that herdsman. Sunlight rakes across twigs, leafy plants, scrubby growth, and rocks in the foreground, closest to us. Sailboats float on the waterways that stretch horizontally across the painting in the distance, and the land separating those bodies of water is dotted with spires, windmills, towers, and other structures. A dozen dark birds fly high in the sky, which takes up the top two-thirds of the picture. A bank of iridescent yellow and pearly white clouds trundle across the pale blue sky. The artist signed the painting in the lower right corner, “A.cuijp.”
Aelbert Cuyp, Horsemen and Herdsmen with Cattle, 1655/1660, oil on canvas, Widener Collection, 1942.9.16

Entry

This broad, panoramic view of a river valley has long been considered one of Cuyp’s most masterful works. The golden light of the late afternoon sun and the moist air in the broad valley soften the landscape, casting a quiet, peaceful spell over the scene. In the foreground two elegant horsemen, whose exotic costumes indicate that they have come from a distant land, pause to discuss their route. Behind them, in the shade of a group of large trees, two shepherds rest amidst their animals. Another herdsman and his cows appear at the left, while a lone rider on a galloping horse in the middle distance is the scene’s only active element.

The pastoral quality of the painting reflects the influence of Dutch artists who had traveled to Italy and brought back images of the Roman campagna. Particularly important was the work of Both, Jan, who similarly set off views of distant river valleys with elegant trees grouped to one side. Both also favored the contre-jour effects of the late afternoon light and frequently painted long diagonal shadows cast by the setting sun—atmospheric elements particularly apparent in this work. Still, the connections between Cuyp’s pastoral scenes and Both’s Italianate views can be overstated. Peasants with their donkeys pass through Both’s mountainous landscapes, whereas in this work, elegant foreigners ride finely bred steeds through a broad, open landscape. The distinctive character of Cuyp’s travelers indicates that his approach is fundamentally different from Both’s, whose peasants fit comfortably into his landscapes as integral components of the artist’s idealized vision of the Roman campagna. Cuyp’s travelers, on the other hand, do not belong to the land nor do they fit within it. The exotic horsemen provide striking visual accents for the composition, but they also engage the viewer, raising questions about the riders’ identities, their travels, and their destination.

Despite the evocative quality of Cuyp’s pastoral scene, the landscape is based on a real site: the Rhine valley near the towns of Kleve and Kalkar, not far from the Dutch border. The identifying features are two background hills: the Monterberg, the steep-sided hill on the left with twin towers at its summit, and the Eltenberg, surmounted by the partially ruined monastery of Hochelten. These hills, also depicted in other paintings, are recognizable from drawings of these sites that Cuyp made on his trip to this area of the Rhine in about 1651–1652.

Nevertheless, a comparison of Horsemen and Herdsmen with Cattle with these drawings indicates that Cuyp freely interpreted topographic elements in this painting. He depicts the Monterberg as a much higher hill than it is in reality, and the two towers are seen to such advantage only from the opposite viewpoint. Finally, the Monterberg and the Eltenberg do not lie in such close proximity and cannot be seen together in the way that Cuyp has represented them. Given the freedom with which the artist combined these landscape elements, the towns vaguely discernible in the river valley are probably Cuyp’s own creations, intended to suggest the character of this beautiful stretch along the Rhine.

Aside from reusing landscape elements, Cuyp also repeated figures and animal motifs in his paintings. The gray horse, for example, is identical to that in Lady and Gentleman on Horseback, and the galloping horse and rider reappear in Michiel and Cornelis Pompe van Meerdervoort with Their Tutor. Cuyp’s ease with recycling his motifs and the fact that he rarely dated his landscapes make it difficult to establish an exact chronology for his work. Nevertheless, the expansiveness of the panorama; the soft, atmospheric qualities of the river valley, which derive from Cuyp’s broad, planar technique of applying paint; and the elegance of the riders are elements associated with paintings he started in the mid-to-late 1650s. An increasing artificiality of light effects and the introduction in the foreground of twisted saplings and large decorative leaves are other distinctive characteristics of Cuyp’s mature style. This artificiality is particularly striking in this painting, in which diagonal shadows fall across rocks and foliage without any indication of their three-dimensionality. Landscape with Horse Trainers , which hung as a pendant to the National Gallery picture when the two paintings were together in the Van Slingeland collection in the eighteenth century, stylistically contains similar characteristics.

Technical Summary

The original, medium-weight, plain-weave fabric support has been lined with the tacking margins trimmed. Cusping on all sides indicates that the original dimensions have been retained. The ground consists of two layers: a lower layer containing white and red pigments and an upper midtone gray layer.[1] The upper gray layer acts as a middle tone from which the artist worked both up and down, applying lighter tones to create the sky, ships, and buildings and darker tones to define foliage of the middleground.

The paint is applied in thin layers, both opaque and translucent, blended wet-into-wet with minimal brushmarking and no appreciable impasto. When creating the sky, Cuyp appears to have applied a lighter gray blue over the middle tone gray, and then scraped through it with the butt end of his brush to place the outlines of forms against the sky. This indented line is visible under magnification only in the sky, in the following areas: along the outline of the left mounted figure and in parts of the left outline of his horse’s head, in the left side of the cloud, and intermittently where the foliage in the trees at the top right meets the sky. This technique may have been used to refine outlines in places rather than as a tool for general placement, since the line is not apparent in all areas. It is also possible that this indented line was once more generally visible, but that it was occasionally covered up by succeeding layers of paint.

Cuyp left large areas of the foreground, the horsemen, the largest tree at right, and the hill with the tower in the left middleground in reserve. The sheep and seated figures at the far right were painted on top of the trees and foliage. In the middleground landscape, the artist painted a foreground sapling before adding the peach-colored tonality to the hills, an unusual sequence of paint application. Cuyp altered the position of the two towers on the Monterberg, the hill in the distant left, and raised the height of the hill.

Numerous scattered tiny losses, particularly along the edges but also in the face of the seated figure at the right, indicate a history of flaking, but abrasion is slight. The painting was lined in 1967. At that time varnish and inpainting were applied over the exhisting discolored varnish. In 1997, the discolored varnish layers and inpainting were removed when the painting underwent a thorough conservation treatment.

 

[1] The painting was treated in 1997, at which time the ground layers were characterized by cross-sectional analysis. The analysis was performed by the NGA Scientific Research Department (see report dated August 26, 1997, in NGA Conservation department files). During this same treatment, the NGA Scientific Research department also analyzed the pigments using polarized light microscopy and found them to be consistent with the period (see report dated May 19, 1997, in NGA Conservation department files). The medium was also analyzed by the NGA Scientific Research department using infrared microscopy and gas chromatography and found to be drying oil (see report dated October 8, 1997, in NGA Conservation department files).