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Here, Hondecoeter is moving toward a more airy staging of his landscapes, one that conveys a new understanding of nature.
In addition to the developing sensitivity of Hondecoeter's depictions, the influences on his work change at this time; the works he completed after this point could more readily be compared with those of van de Velde, for example. Schulz, Paysagistes hollandais (1600-1740) du Cabinet des Estampes de Berlin, Berlin, 1974, p. Starcky, Inventaire Général des dessins des Ecoles du Nord - Supplément à l'inventaire F.
Hondecoeter's trees are almost ornamental in character and tend to be much more decorative than those seen in works of certain of Hondecoeter's contemporaries, such as David Vinckboons.
On the right-hand side of the drawing, a vista of the surrounding countryside and a village opens up, the village seemingly clinging to the sides of a simply outlined hill.
Parallels with Hondecoeter's first dated painting (Landscape with a Musical Gathering, painted in 1602 and now in the National Gallery of Canada in Ottawa) make this dating extremely likely, since there is a notable degree of similarity between the left-hand sides of the two works. Wabbes, Illustrated Dictionary of 17th century Flemish Painters, Bruxelles : La Renaissance du Livre, 1994, 3 volumes (Texte, p. Gerszi, "L'influence de Pieter Bruegel sur l'art du paysage de David Vinckboons et de Gillis d'Hondecoutre", in Bulletin du Musée hongrois des Beaux-Arts, n 53, Budapest, 1979, pp.
Hondecoeter's landscapes show the influence of Gillis van Coninxloo, Roelandt Savery, and David Vinckboons.
Van Mander described Coninxloo as ‘the best landscape painter of his time’ and said ‘his style is now frequently imitated in Holland’.The composition, which consists (from left to right) of a tree, a stretch of water, and a distant landscape, might be compared with an etching by Hieronymus Cock after a drawing by Pieter Brueghel (The Temptation of Christ).The etching was much admired by many artists, and Hondecoeter made use of it in other works.He cited the more traditional aspects of the composition (such as the seasonal and biblical themes), as well as its stylistic relationship to the more densely forested works of van de Velde's teacher Gillis van Coninxloo (1544-1607).1 Indeed, despite the more naturalistic, unaggrandized view of the native landscape, the greater horizontality of the composition, and the artist's brilliant application of paint (see Technical Data), some traditional elements still linger in the , such as the clusters of trees framing the composition in a formula borrowed from Coninxloo.Another traditional element is the pairing of this landscape with a similarly conceived pendant.
In the early 1610s, he played a leading role in the development of a more naturalistic landscape style in the Netherlands, a style committed to recording the native Dutch scene. In the foliage, a thin reddish-brown glaze is applied over the white ground to create the shadows, then the more opaque pigment of the individual leaves is applied in dots.