Van Everdingen, Allart

He loved to depict the views of the highlands with rocks, huge boulders, dark pines, noisy waterfalls and a cloudy sky. Numerous etudes from life, made by him during his trip to the Scandinavian peninsula in the years 1604-1644, served as the material for such images. Occasionally he also wrote the stormy sea, the coldness of which he had to experience on this trip.

Returning to the fatherland, he was adopted in 1645 as a master in the Harlem guild of St.. Luke and then worked in Alkmaar, Haarlem, and from 1652 until his death in Amsterdam . Pictures of Everdingen, remarkable for the faithful transfer of forms of wildlife, often majestically picturesque in motive and almost always imbued with a melancholic mood, are found in many public museums and private collections. There are three of them in the Hermitage (two types in Norway and the Uelye Scheldt), three in the Berlin Museum, two in the Dresden Gallery (“Hunting for fallow deer near a mountain lake” and “The Great Waterfall”), in the Louvre in Paris - one , in the Munich Pinakothek - three, in the Amsterdam Museum - five, etc.

The etchings of Everdingen, drawn by a bold, workshop needle, although somewhat coarse, are more varied in terms of content than works of his brush. Of these engravings, 106 depict landscapes and views of the sea, and 57 the essence of the illustrations for Reinike Fuchs (the original drawings for which these were painted are kept in the British Museum in London).

Allart van Everdingen had two brothers, quite talented artists: Caesar van Everdingen (1616-1678), a pupil of J. Van Blockhorst, engaged in portrait and historical painting , and Jan van Everdingen (died in 1656 ), a student of Caesar, who wrote subjects inanimate nature.

Everdingen // Encyclopedic Dictionary of Brockhaus and Efron : 86 t. (82 t. And 4 additional.). - SPb. , 1890-1907.