LANDSCAPE AND MEMORY
- d'Onofri, Landscape with Battus
- after Brueghel, Alpine Landscape
- School of Antwerp, Imaginary Landscape
- Sadeler, Facade of a Temple
- van Noort, Landscape with the Temple
- Davent, Landscape with Ancient Ruins
- att. to Pozzoserato, Mountainous Landscape
- van de Velde II , Interior of the Ruins
- Waterloo, Two Travelers
- Grimaldi, Landscape
- Saftleven, Landscape with a Man
- Barrière, View of the Town
- Monti, Landscape with a River
- Meyeringh, Landscape with Mercury
- Bout, The Skaters
- Lelu, A Town in Portugal
- Dietricy, Heroic Landscape
- Le Loup , View of the Town
- att. to Verrijk , River Scene
- Kolbe, Landscape with a Cowherd
- Roos, Vast Mountainous Landscape with Herds
- Roman School, Lago d’Albano,
- Isabey, Ruines du Château
- Williams, A Part of Melrose Abbey
- Palmer, The Morning of Life
- Richardson, Loggers by a Lake
- att. to Preller, Oak Trees
- Lalanne, Plage des Vaches
- Miller, A Road in Winter
- Haden, Sunset in Ireland
- Doeleman, Stormy Sky
- Meryon, Nouvelle Zélande
- Latenay, Autumn Trees
- German School, Birches
- Cameron, Ben Lomond
- Yeats, July 4, 1908
- MacLaughlan, Rossinières
- Cotton, Spring Landscape
- Legros, Une Vallée
- Torre-Bueno, Farmlands
- Jungnickel, Loser - Altaussee
- Komjati, Willows
- Wengenroth, Bucks County
- Kantor, Abstracted Landscape
- Eby, Christmas Trees
- Massen, Landscape with Trees
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8. Jan van de Velde II (1593-1641) Interior of the Ruins of a Large Chateau |
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(click on image to print)

Interior of the Ruins of a Large Chateau
Etching, 1615, from a set of 18 Landscapes and Ruins, Franken & Van der Kellen 226 ii/ii, Hollstein 187 ii/ii, 117 x 312 mm. A fine, black impression on laid paper trimmed unevenly along (in places, within) the borderline; in the upper right corner, a repaired tear, some paper crinkling and the very tip of the corner lost.
This somewhat (for Van de Velde) phantasmagoric image, with ruins circling an old, dying tree, plays not only on the idea of memory, but on that of transience, a not uncommon subject in 17th-century landscape art (the paintings of Ruisdael, for example). Van de Velde’s elegant hunters (with their high hats and dogs) attend the scene, as does a worker carrying a load and a seated couple by a ruined wall. All that is lacking is a carved inscription of Et in Arcadia Ego – but then, this is Holland not Italy. The first state of the print is theoretical as no impression is currently known.