Scholarly Article

Dutch Paintings of the Seventeenth Century: A Pier Overlooking Dordrecht, early 1640s

Part of Online Edition: Dutch Paintings of the Seventeenth Century

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We look across a body of calm water onto a wooden pier, rowboats, sailboats, and a town on the distant shore, all beneath a cloudy sky that takes up the top three-quarters of this horizontal landscape. The pier extends into the scene from the left edge, and stretches about a quarter of the way across the painting’s width. Three men and a woman, all with light skin, stand in a group near a fourth man, who sits on a piling at the front corner. They all wear charcoal-gray, muted blue, or fawn-brown clothing and hats. A rifle leans against the hip of one man, and another man looks out at the water, his back turned to the rest of the group. Three small boats are tied to the end of the dock. The one closest to us holds large containers, perhaps wrapped with rope. A fifth man bends over the far edge of the boat farthest from us. In another rowboat to our right, a man stands, another sits, and a third pulls on the oars. Four sailboats float into the distance down the center of the composition. To our right, the town along the far shore has closely spaced buildings with peaked roofs, a windmill, and a tall steeple, all painted with tones of peanut brown and tan. Light falls across the water from our left, casting the area closest to us in deep shadow. The surface of water is painted with tones of ivory and gray, matching the sky above. Light filters and streaks through ash-gray clouds across most of the sky. The clouds part to reveal a patch of pale blue at the upper left corner.
Aelbert Cuyp, A Pier Overlooking Dordrecht, early 1640s, oil on panel, Gift of George M. and Linda H. Kaufman, 2012.73.1

Entry

Aelbert Cuyp’s numerous views of river life are extremely varied and demonstrate a remarkable sensitivity to the changing light and water conditions encountered on inland waterways. He could comfortably set boats in the water, even as he visually contrasted water’s translucent and changing surface with the physical presence of heavy wooden hulls and weighty canvas sails. Cuyp’s pictorial sensitivities were also directed toward human and animal activities revolving around the water, which added visual and thematic interest to the inherent beauty of his river scenes.

This luminous painting, executed in the early 1640s, depicts his native Dordrecht from the west as seen from a pier near the village of Zwijndrecht, situated on the opposite bank of the river Maas . The three small, wooden fishing skiffs tied up at the rough-hewn pier help give the painting its unpretentious, rustic charm. Across the river Maas rise Dordrecht’s city walls, with the thin spire of the Groothoofdspoort, a major gateway into the inner harbor, prominently at the left. Sailboats or rowboats, which operated constantly, provided ferry transportation across the river to Dordrecht’s neighboring villages.

Through the figures’ costumes, Cuyp has effectively captured the differing character of the lands on either side of the Maas. A small rowboat ferrying two burghers, distinguishable by their mode of dress, approaches the Zwijndrecht pier where travelers await the voyage to Dordrecht. Whether rural folk or city dwellers dressed for an outing—the man holding a rifle presumably has gone hunting—those at the pier wear clothing suited for activities in the countryside.

During the early years of his career, Cuyp was particularly intrigued with life along the piers, perhaps because of the variety of scenarios that could be portrayed in this setting. Cuyp’s inspiration may have been the Rotterdam painter Vlieger, Simon de, who also starkly contrasted the architectural forms of piers and adjacent buildings with vigorous skies and sun-filled, distant river views . De Vlieger, however, never focused as much on the human aspect of the scene as did his Dordrecht counterpart.

The forceful, even monumental character of Cuyp’s painting comes largely from the juxtaposition of the boldly modeled foreground forms with the light-filled riverscape beyond them. It is reinforced by the strong emphasis on the horizontal, not only of the pier and the distant horizon, but also of the ripples in the water. With this solid framework firmly established, the sailboats seem to glide effortlessly back and forth, catching the light winds that fill the air. This controlled yet vigorously executed manner of painting is one of Cuyp’s most distinctive characteristics, and is unlike that of any of his contemporaries. Given the freshness of his touch, it is always surprising to discover that Cuyp often repeated compositional elements in different paintings. For example, the rowboat and oarsman in this work are identical to the workman and boat hauling peat in Cuyp’s Cattle and Cottage Near a River from the early 1640s .

Technical Summary

The painting was executed on a wood panel made from two boards joined horizontally. It has been backed and cradled. Wooden strips have been added to the edges. The thin, off-white ground does not fully cover the color or the grain of the wood. The paint was applied in various thicknesses, sometimes very thinly so that the wood remains visible, and in other areas, the lighter passages in the foreground, for example, the paint is thicker. The sky has been painted more thinly, and sometimes the texture of the artist’s brush is discernible, particularly where he used the end of the bristles to give texture to the clouds. Cuyp applied the paint wet-into-wet, but also manipulated semi-dry layers in some areas, such as the reflections in the water.

The panel is in good condition and is not warped. Some tented paint runs along the grain just above the heads of the figures. Numerous small areas of inpainting are found in the sky, some of which has discolored slightly. It is likely that this inpainting was applied to lessen the dominance of the wood grain, which becomes more pronounced because the paint and ground become more transparent with age. The varnish is even but slightly yellow.