Joris van der Haagen

The actual painting is warmer and softer in tone than the catalogue illustration suggests. The canvas is relined (glue). Overall, the paint surface seems to be in very good condition, one small scratch and a couple of paint losses can be seen in the upper right corner. Because the paint surface has grown rather dry, there is a tendency towards cupping, mainly in the tree and sky area. There is also some frame abrasion to the right edge. There are few tiny scattered discoloured retouchings visible in the sky and in the landscape in the background. The paint surface is under a dirty varnish layer, which fluoresces largely under UV light. UV light does reveal very tiny retouchings in the trees, sky, and landscape. Offered in a decorative, plaster gilt wood frame, a few chips. (ML)
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While the surname of the artist alludes to the idea he came from The Hague (Haag), his family originated from Flanders and settled in Dordrecht before moving to the east of Holland, to Arnhem. It is in this city that Joris grew up and, as his father was a painter himself, he probably was apprenticed by him. In 1639, after his father died, he moved to The Hague with his mother, where he would remain the rest of his life.¹

This forest landscape, with its trees bearing curled and high-lighted branches, is typical for Van der Haagen, who often chose the surroundings of The Hague for his landscapes and city views. Also the rendering of the foliage of the water plants and the warm colouring of the sun on the water are very characteristic for the artist. See for example a signed work at the Gemeentemuseum, Arnhem (inv. no. GM 5612), also of similar size. The figures in the present work could well be painted by another hand, as Van der Haagen often co-operated with other artists, such as Ludolf de Jongh (1616-1679), Nicolaes Berchem (1621/3-1683) and Dirck Wijntrack (before 1625-1678).

1. See E. Buijsen, Haagse Schilders in de Gouden Eeuw, Zwolle 1998, pp. 146-9.