Redigerer Meindert Hobbema (avsnitt)

=== Hvor verkene er i dag ===
De beste av de daterte bildene er fra perioden 1663 til 1667. Flere av bildene er i gallerier i [[Brussel]] og [[St. Petersburg]]. [[National Gallery]], [[London]] har flere bilder, hvorav to datert i denne perioden. Andre bilder er lokalisert til [[Fitzwilliam Museum]] i [[Cambridge]] og en fin samling i [[Antwerpen]].

<!-- <nowiki> 

Zunächst stand das Werk Hobbemas unter dem Einfluss von [[Cornelis Hendricksz. Vroom|Cornelis Vroom]] und [[Anthonie van Borssom]]. Um 1656 nahm er ersten Kunstunterricht bei Jacob van Ruisdael, der gerade von Haarlem nach Amsterdam gezogen war. Hobbemas Lehrzeit bei Ruisdael scheint nicht sehr lang gedauert zu haben, da seine erste signierte Arbeit aus dem Jahr 1657 zeigt, dass er sich bis dahin als unabhängiger Meister etabliert hatte. Hobbema blieb auch nach seiner Lehrzeit mit Ruisdael freundschaftlich verbunden. Zusammen reisten sie durch die niederländischen Provinzen bis in die Region von [[Twente]] und über die Grenze nach [[Bentheim]]. Vermutungen, Hobbema hätte nach seiner Bestellung zum Eichmeister die Malerei nur als Liebhaberei fortgesetzt, gilt angesichts des umfangreichen Werkes als unwahrscheinlich. Zudem ist sein als Hauptwerk geltendes Gemälde ''Die Allee von Middleharnis'' erst 1689 entstanden.

Posterity has recognised that Hobbema and Ruysdael together represent the final development of landscape art in [[Netherlands|Holland.]] Their style is so related that we cannot suppose the first to have been unconnected with the second. Still their works differ in certain ways, and their character is generally so marked that we shall find little difficulty in distinguishing them, nor indeed shall we hesitate in separating those of Hobbema from the feebler productions of his imitators and predecessors Isaac Ruysdael, Rontbouts, de Vries, Dekker, Looten, Verboom, do Bois, van Kessel, van der Hagen, even [[Philips Koninck|Philip de Koningk]].

==Work==
{{wikisourcepar|Century Magazine/Volume 47/Issue 6/Old Dutch Masters. Meyndert Hobbema|an overview of Hobbema's life and career.}}
In the exercise of his craft Hobbema was patient beyond all conception. It is doubtful whether any one ever so completely mastered as he did the still life of woods and hedges, or mills and pools. Nor can we believe that he obtained this mastery otherwise than by constantly dwelling in the same neighbourhood, say in Guelders or on the Dutch [[Westphalia]]n border, where day after day he might study the branching and foliage of trees and underwood embowering cottages and mills, under every variety of light, in every shade of transparency, in all changes produced by the seasons. Though his landscapes are severely and moderately toned, generally in an olive key, and often attuned to a puritanical grey or russet, they surprise us, not only by the variety of their leafage, but by the finish of their detail as well as the boldness of their touch. With astonishing subtlety light is shown penetrating cloud, and illuminating, sometimes transiently, sometimes steadily, different portions of the ground, shining through leaves upon other leaves, and multiplying in an endless way the transparency of the picture. If the chance be given him he mirrors all these things in the still pool near a cottage, the reaches of a sluggish river, or the swirl of the stream that feeds a busy mill. The same spot will furnish him with several pictures. One mill gives him repeated opportunities of charming our eye; and this wonderful artist, who is only second to Ruysdael because he had not Ruysdael's versatility and did not extend his study equally to downs and rocky eminences, or torrents and estuaries – this is the man who lived penuriously, died poor, and left no trace in the artistic annals of his country. It has been said that Hobbema did not paint his own figures, but transferred that duty to [[Adriaen van de Velde]], [[Jan Lingelbach|Lingelbach]], [[Barendt Gael]], and [[Abraham Storck]]. As to this much is conjecture.

 </nowiki> -->