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River Landscape with Cows

Aelbert Cuyp1645/1650

National Gallery of Art, Washington DC

National Gallery of Art, Washington DC
Washington, DC, United States

Eight cows quietly chew their cud on the bank of a river while on the dike above two herdsmen talk to a passing rider, their distant forms accented by shafts of late afternoon light breaking through the billowing clouds. To the seventeenth-century Dutch, the well-fed cow symbolized the nation’s prosperity. Milk, butter, and cheese were important components of the Dutch diet, and the succulent cheeses marketed at Gouda and Alkmaar were among the main export products to France, the Spanish Netherlands, and the Iberian peninsula.


Aelbert Cuyp was not the first Dutch artist to focus on a herd of cows, but he portrayed them with a dignity lacking in similar works by his predecessors. Throughout his career, Cuyp remained interested in depicting rural Dutch landscapes, but by the late 1640s he had started to incorporate Italianate elements, derived from the works of Dutch artists who had studied in Italy. Cuyp dramatized his images by portraying his cattle within a generalized, arcadian landscape. By placing his viewer at a low vantage point and silhouetting the cattle against a light-filled background, Cuyp imbued his scene with an aura of pastoral well-being. The "single-wing composition," in which a large diagonal form fills the lower right quadrant of the panel, is characteristic of Dutch landscape paintings of the 1640s and 1650s.

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  • Title: River Landscape with Cows
  • Creator: Aelbert Cuyp
  • Date Created: 1645/1650
  • Physical Dimensions: overall: 68 x 90.2 cm (26 3/4 x 35 1/2 in.) framed: 91.1 x 112.7 x 5.1 cm (35 7/8 x 44 3/8 x 2 in.)
  • Provenance: Caroline Anne, 4th marchioness of Ely [1856-1917, née Caroline Anne Caithness], Eversley Park, Winchmore Hill, London; (sale, Christie, Manson & Woods, London, 3 August 1917, no. 43); (C. Huggins, London);[1] sold 9 August 1917 to (Thos. Agnew & Sons, Ltd., London, and the dealer H.M. Clark); sold September 1919 to Gaston Neuman, Brussels.[2] (sale, Frederik Muller & Co., Amsterdam, 30 November–6 December 1920, 1st day, no. 1024, bought in); (Frederik Muller & Co., Amsterdam), until at least 1922;[3] possibly (Steinmeyer, Lucerne), in 1923;[4] (Paul Cassirer & Co., Berlin), by 1924.[5] Ignaz Petschek, Aussig (Ústí nad Labem), Czechoslovakia, by 1927; by inheritance to his son, Frank C. Petschek [d. 1963], Aussig (Ústí nad Labem), and New York;[6] by inheritance to his daughters, Elisabeth de Picciotto, New York, and Maria Petschek Smith, Falls Church, Virginia; gift 1986 to NGA. [1] Letter, 12 November 1952, Christie, Manson & Woods Ltd. to Frank Petschek, copy in NGA curatorial files. [2] Many details of the provenance, in particular the specifics of Agnew’s ownership and sale of the painting, were researched by Alan Chong, and provided to Arthur Wheelock in letters from 1988 and 1990 (some undated), in NGA curatorial files. [3] Muller lent the painting to exhibitions in 1921 and 1922. [4] Steinmeyer’s possible ownership is cited in the files at the Rijksbureau voor Kunsthistorische Documentatie, The Hague; see their letter of 21 April 1951 to Frank Petschek, copy in NGA curatorial files. [5] Cassirer lent the painting to a 1924 exhibition. [6] The picture was removed from Czechoslovakia in, or shortly before, 1938 by Frank Petschek.
  • Medium: oil on panel
National Gallery of Art, Washington DC

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