View of IJsselmonde Seen Across the New Maas
Aelbert Cuyp (Dutch, 1620-1691)
c. 1640
View the original$17
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Materials & printing
Archival matte paper, 189 g/m² (10.3 mil), sourced from Japan, printed with multicolor water-based inkjet so every brushstroke stays crisp. Framed prints arrive ready to hang in a .75″ ayous-wood frame with an acrylite front. Sized to standard frames by cropping, never stretching — at most about 3% comes off one edge, which isn’t noticeable on most pieces, and we only offer a size when it stays that small.
Shipping & returns
Made to order and delivered in 5–8 business days (2–4 to print, 3–4 in transit). US shipping only for now. Because each print is made for your order, all sales are final — but if it arrives damaged or defective, send us a photo within 14 days and we’ll replace it free. Full policy.
Why is it this affordable?
A thin, flat margin on every piece — just enough to keep the store running. Most of what you pay is the print itself. We only sell sizes that reproduce at full quality, and we don’t mark up the large sizes the way most shops do.
About this work
Even though he never ventured to Italy, Aelbert Cuyp distinguished himself as an artist who could evoke the golden light so often associated with southern Europe. Two of his works (View of IJsselmonde Seen across the New Maas (1967.383) and A View of Vianen with a Herdsman and Cattle by a River (2003.169), created around the same time, indicate how he achieved this effect in two different media. In both cases, Cuyp employed a restrained but highly evocative palette in which he selectively contrasted the dark brown elements of the foreground and the expansive gold-cast skies seen beyond the water in the middle ground. Although in the painting he achieved this effect by covering his entire canvas with pigment, it is remarkable to consider the atmospheric effects he created in the drawing with the strategic and minimal use of color on paper.
- Medium
- Brush and black and yellow ochre watercolors, over black chalk, on ivory laid paper
- Original size
- 14.5 × 19 cm (5 3/4 × 7 1/2 in.)
Museum record · 6 owners · 3 exhibitions
Provenance
- William Mitchell (died 1908), Australia, London, and Eastbourne.
- William Pitcairn Knowles (1820–1894), Rotterdam and Wiesbaden; sold, Frederik Muller and Company, Amsterdam, June 25, 1895.
- Rudolf Philip Goldschmidt (c. 1840–1914), Berlin; sold, Prestel, Frankfurt-am-Main, Oct. 4–11, 1917, lot 153.
- Curt Otto (c. 1880–1929), Leipzig; sold, C. G. Boerner, Leipzig, Nov. 7, 1929, lot 46.
- Sold, C. G. Boerner, Leipzig, Apr. 28, 1939, lot 371 to Mertens.
- Sold by Paul Drey Gallery, New York, to the Art Institute of Chicago, 1967.
Exhibitions
- Washington D.C., The National Gallery of Art, Seventeenth Century Dutch Drawings from American Collections, Jan. 30–Mar. 13, 1977; also the Denver Art Museum, Apr. 1–May 15, 1977; and Fort Worth, Tex., the Kimbell Art Museum, June 1–July 15, 1977.
- Art Institute of Chicago, Great Drawings from the Art Institute of Chicago: The Harold Joachim Years 1958–1983, July 24–Sept. 30, 1985; also the St. Louis Art Museum, Mar. 10–May 16, 1986.
- Art Institute of Chicago, The Broad Spectrum: Color on Paper, Past and Present, Sept. 12–Oct. 31, 1999, no cat. The Art Institute of Chicago, "Rubens, Rembrandt, and Drawing in the Golden Age", September 28, 2019 - January 5, 2020, 251, 293, 330, cat. by Victoria Sancho Lobis, et. al.
