ROGHMAN, Roelandt - b. 1627 Amsterdam, d. 1692 Amsterdam - WGA

ROGHMAN, Roelandt

(b. 1627 Amsterdam, d. 1692 Amsterdam)

Painter, etcher and draughtsman, member of a Dutch family of artists. The family was founded by Hendrick Lambertsz. Roghman (d. after 1647), an engraver who married Maria Savery, daughter of the painter and draughtsman Jacob Savery. The Roghmans ran a workshop with their six children, three of whom became established artists: Geertruydt, Roelandt and Magdalena.

Roelandt Roghman is usually considered a pupil of Rembrandt in Amsterdam, but there is no documentary evidence, and his style gives little support for this. Houbraken also mentioned that Roghman was blind in one eye. What is certain is that Roghman was familiar with the work of his great-uncle Roelandt Savery and that he travelled a great deal in the Netherlands and probably also through the Alps. A series of etchings of eight Mountainous Tyrolean Landscapes was published in Augsburg; given their realistic character, it is likely that they were executed after his travels. His subjects were mainly forest scenes and mountain landscapes. It is possible but unconfirmable that Roghman also visited Italy, but he is documented in Amsterdam again in 1658.

An Extensive Landscape with Figures along a Path
An Extensive Landscape with Figures along a Path by

An Extensive Landscape with Figures along a Path

Landscape
Landscape by
Loenersloot Castle
Loenersloot Castle by

Loenersloot Castle

The new gallery wing at the rear on the north side of Castle Loenersloot was designe by Salomon de Bray c. 1630.

Valley with Travellers
Valley with Travellers by

Valley with Travellers

It is said that this Dutch painter in Amsterdam was the friend of Rembrandt. His rocky mountainous landscapes show affinities with Rembrandt as well as traces of the work of his mother’s uncle, the Mannerist Roelandt Savery. In 1646-47, when Roghman was nineteen- or twenty-years-old he drew a set of more than 240 large views of Dutch castles, presumably to fulfill a commission. This remarkable set of careful topographical drawings, now widely scattered, has nothing in common with Rembrandt’s style. Later, in the 1660s, he was influenced by the topographical scenes produced by Allaert van Everdingen during his trips to Scandinavia.

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