Hendrick Van Avercamp Hand Numbered Limited Edition Print on Paper :"A Scene on the Ice near a Town, c.1615"
Title: A Scene on the Ice near a Town, c.1615
Dimensions (W x H ): Paper Size: 26 x 18 in | Image Size: 22 x 14 in
Edition | Medium: Each print is hand numbered, accompanied by a certificate signed by the Master Printer and is numbered to match the print. The editions are limited to 1880 copies. |
This Gouttelette print on paper is published with light-fast inks to BS1006 Standard onto acid-free calcium carbonate buffered stock, mould-made from 100% cotton and sourced from environmentally conscious paper suppliers. This product is exclusive to Rosenstiels.
About the Art: Superior Edition
About the Artist:
Avercamp was a Dutch painter, from Kampen, the most famous exponent of the winter landscape. He was deaf and dumb and known as the mute of Kampen. As one of the first landscape painters of the 17th-century Dutch school, Avercamp links the archaic decorative conception of Flemish origins and the new realist and objective ambitions developed in Holland. His paintings are colorful and lively, with carefully observed skaters, tobogganers, golfers, and pedestrians. Avercamp's work enjoyed great popularity and he sold his drawings, many of which are tinted with water-color, as finished pictures to be pasted into the albums of collectors.
For his artistic training, Hendrick was sent to Amsterdam to study with the Danish portrait painter Pieter Isaacks, during his apprenticeship in Amsterdam, Avercamp came under the influence of the Flemish painters of mannerist landscapes who were then living in the city.
Avercamp's early landscapes have a predominantly narrative quality, including numerous rather daring anecdotes. His style can be characterized by a high horizon, vivid and chatoyant colours distributed all over the painting, tree branches drawn over the snow or the sky, an archaic sense of perspective and a taste for circular formats focusing on the layout of the depicted scenes. His scenes depict little people, in black over a white background, all busy each with a slightly different daily task. In later years, atmosphere became important in his work. The horizon was brought down. As with Van Goyen, circular frames were progressively replaced with rectangular ones with a large width, a popular format among the 1620-30 painters.
