Waterfall with Log Cabins

Provenance

A.W. Sjöstrand, Stockholm.[1] (sale, Christie, Manson & Woods, London, 23 April 1982, no. 65). (sale, Christie, Manson & Woods, New York, 18 January 1983, no. 135, bought in). acquired 1983 by Asbjorn R. Lunde [1927-2017], New York; his estate; gift to NGA. [1] The painting was not included in the March 1933 sale of paintings from Sjöstrand's collection in Berlin by Rudolph Lepke's auction house. The provenance is per Alice I. Davies, _Allart van Everdingen, 1621-1675, FIrst Painter of Scandinavian Landscape: Catalogue Raisonné of Paintings_, Doornspijk, 2001: 242, no. 132, pl. 132.

Waterfall with Log Cabins

Everdingen, Allart van

c. 1665/1670

Accession Number

2018.210.1

Medium

oil on canvas

Dimensions

overall: 96.5 × 118.5 cm (38 × 46 5/8 in.) | framed: 113.03 × 136.37 × 6.35 cm (44 1/2 × 53 11/16 × 2 1/2 in.)

Classification

Painting

Museum

National Gallery of Art

Washington, D.C., United States

Credit Line

Gift of Asbjorn R. Lunde

Tags

Painting Baroque (1600–1750) Oil Painting Canvas Dutch

Background & Context

Background Story

Allart van Everdingen's "Waterfall with Log Cabins" (c. 1665/1670) is a striking example of the Scandinavian landscape type that this Dutch artist introduced into Netherlandish painting. The scene depicts a dramatic waterfall tumbling over rocky terrain, with rustic log cabins nestled among the pines — a landscape of craggy mountains, dark forests, and turbulent water that would have seemed exotic and wild to Dutch audiences accustomed to their flat, tame homeland. Van Everdingen (1621–1675) made a transformative journey to Norway and Sweden around 1644–45, where he sketched the dramatic Scandinavian landscape with its rugged mountains, dense pine forests, and powerful waterfalls. These sketches became the foundation for a new genre in Dutch painting — the Nordic landscape — that introduced Northern European audiences to landscapes of wild grandeur dramatically different from the familiar Dutch scenery of polders, canals, and flat horizons. Before van Everdingen, Dutch landscape painting was overwhelmingly domestic in character — the peaceful, horizontal vistas of the Dutch countryside, populated by windmills, churches, and skaters on frozen canals. Van Everdingen's Scandinavian scenes introduced a romantic dimension: craggy peaks, crashing waterfalls, and dark, impenetrable forests that suggested a nature more powerful and unpredictable than the controlled, cultivated landscape of the Netherlands. His waterfalls in particular became iconic — so much so that when Jacob van Ruisdael, the greatest of all Dutch landscape painters, began painting waterfalls a few years later, he openly borrowed van Everdingen's compositional models. The log cabins in this painting are an authentic detail from van Everdingen's Scandinavian travels — these simple wooden structures with their rough-hewn timbers and turf roofs were genuinely Norwegian, unlike the brick houses of the Netherlands. They serve as a human element that emphasizes the wildness of the surrounding landscape: these are not prosperous Dutch burghers in comfortable homes, but hardy pioneers contending with an untamed nature. Van Everdingen's influence extended far beyond his own paintings. His Nordic landscapes created a taste for wild, mountainous scenery that would influence Dutch landscape painting for decades.

Cultural Impact

Van Everdingen's Scandinavian landscapes introduced a new category of sublime, untamed nature into Dutch art, creating a visual vocabulary of mountainous wilderness that influenced Jacob van Ruisdael and shaped the development of romantic landscape painting across Northern Europe.

Why It Matters

This painting exemplifies the Dutch fascination with exotic landscapes — van Everdingen's Scandinavian waterfalls brought the sublime grandeur of wild, mountainous nature to audiences who knew only flat horizons and domesticated scenery.