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View of Rhenen
new25/Hercules Seghers-888794.jpg
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View_of_Rhenen
between 1625(1625) and 1630(1630)
Medium oil on oak
cyf
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Landscape with City on a River
new25/Hercules Seghers-965363.jpg
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Landscape_with_City_on_a_River
between 1627(1627) and 1629(1629)
Medium oil on oak
cyf
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View of Brussels from the North-East
new25/Hercules Seghers-883759.jpg
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View_of_Brussels_from_the_North-East
1625
Medium English: Oil on oak, 24,5 x 39 cm
Dimensions English: 24,5 x 39 cm
cyf
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Panoramic landscape
new26/Hercules Seghers-457343.jpg
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Panoramic_landscape
circa 1625 (1615-1635)
Medium oil on canvas mounted on panel
Dimensions 29.3 x 45.7 cm (11.5 x 18 in)
cjr
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Hercules_Seghers
1590-1638
Dutch
Hercules Seghers Gallery
Hercules Pieterszoon Seghers or Segers (c. 1589 ?C c. 1638) was a Dutch painter and printmaker of the Dutch Golden Age. Segers is in fact the more common form in contemporary documents, and was used by the painter himself (modern use is about equally divided between the two). He was "the most inspired, experimental and original landscapist" of his period and an even more innovative printmaker.
He was probably best known to his contemporaries for his paintings of landscapes and still-life subjects; his paintings are also rare, with perhaps only fifteen surviving (one was destroyed in a fire in October 2007 ). The Stadholder, Frederick Henry, Prince of Orange bought landscapes in 1632. Many of his painted landscapes are fantastic mountainous compositions, whereas in his prints it is often the technical approach rather than the subject which is extreme. His painted landscapes tend to show a wide horizontal view, with emphasis on earth rather than sky; two in the Gemäldegalerie, Berlin had strips of sky added at the top later in the century to meet a changed taste. Apart from Coninxloo, Seghers drew from the Flemish landscape tradition, perhaps especially Joos de Momper and Roelandt Savery, but also the "fantastic and visionary aspects of Mannerist" landscape painting. A 1680 inventory of Jan van der Capelle, who owned five paintings by Seghers, describes one as view of Brussels, which if correct would presumably mean Seghers travelled there, probably when young, when his style shows most Flemish influence (in so far as the chronology of his work is clear).
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