The scene of the winterlandscape is structured around a frozen river in the centre that spreads out to the right lower edge of the panel. The spatial recession is achieved through the natural course of the river, which is framed on its banks by houses and trees. The direction of the figures leads the eye into the background.
On the foreground, frozen in the ice, a boat is situated. The blue sky at the upper edge is starting to be rapidly covered over by dense patches of clouds that suggest rain and dampness.
Theme
The composition is typical of Van de Cappelle as he frequently used the motif of a river receding into the distance and framed on either side by trees and bushes with boats frozen into the ice.
The artist painted around twenty winter landscapes of which the most successful are those dating from between 1652 and 1653 in which the effects of the weather and atmosphere are the true protagonists.
Technique
The painting shows detailed brushstrokes characteristic of oil painting techniques. The composition and the way the figures and objects are depicted indicate a careful and skilled hand.
Use of materials
Oil paint is known for its rich texture and durability, which is visible in the depth of colours and subtle transitions between shades.
Use of colour
The colour palette consists of muted blue and grey tones in the sky, indicating an overcast day or late afternoon. The earthy colours of the cottages and naked trees add to the winter atmosphere of the scene.
JAN VAN DE CAPELLE (1625/1626-Amsterdam-1679)
Jan van de Capelle (also named Jan van de Cappelle) was a Dutch Golden Age painter of seascapes and winter landscapes, also notable as an industrialist and art collector. He is ‘now considered the outstanding marine painter of 17th century Holland’. He lived all his life in Amsterdam, and as well as working as an artist, spent much of his time helping to manage his father Franchoy’s large dye works, which specialized in the expensive dye carmine, and which he eventually inherited in 1674.
Presumably because of this dual career, there are fewer than 150 surviving paintings, a relatively small number for the industrious painters of the Dutch Golden Age.
He probably received some training of Simon de Vlieger, whose style is closest to his early paintings and perhaps other masters such as Willem van de Velde the Elder.
The majority of his works are marine or river views, nearly always with several vessels, but he also left a number of small winter landscapes somewhat in the manner of Aert van der Neer, these all seem to date between 1652 and 1654.