\r\n","citation":"\"Recent acquisitions\", Record of the Art Museum, Princeton University 20, no. 1 (1961): p. 24-27.
\r\n, p. 24","date":1961,"id":3371,"uri":"https://www.jstor.org/stable/3774336"},{"boilertext":"Victoria S. Reed, In pursuit of the past: provenance research at the Princeton University Art Museum, (Princeton, NJ: Princeton University Art Museum, 2003).","citation":"Victoria S. Reed, In pursuit of the past: provenance research at the Princeton University Art Museum, (Princeton, NJ: Princeton University Art Museum, 2003).","date":2003,"id":7355,"uri":"https://search.worldcat.org/title/83234722"},{"boilertext":"Walther Bernt, Die niederländischen Maler des 17. Jahrhunderts: 1042 Abbildungen und 516 Signaturen, (München: Münchner Verlag, 1948-62). ","citation":"Walther Bernt, Die niederländischen Maler des 17. Jahrhunderts: 1042 Abbildungen und 516 Signaturen, (München: Münchner Verlag, 1948-62). , no. 585","date":1948,"id":7357,"uri":"https://search.worldcat.org/title/921078931"},{"boilertext":"Cornelis Hofstede de Groot, Beschreibendes und kritisches Verzeichnis der Werke der hervorragendsten Holländischen Maler des XVII Jahrhunderts, (Esslingen; Stuttgart; Paris; London: Neff, 1907-1928).","citation":"Cornelis Hofstede de Groot, Beschreibendes und kritisches Verzeichnis der Werke der hervorragendsten Holländischen Maler des XVII Jahrhunderts, (Esslingen; Stuttgart; Paris; London: Neff, 1907-1928)., Vol. 7: no. 314","date":1907,"id":7358,"uri":"https://search.worldcat.org/title/874358954"},{"boilertext":"Illustrated catalogue of 300 paintings by old masters of the Dutch, Flemish, Italian, French, and English schools, being some of the principal pictures which have at various times formed part of the Sedelmeyer Gallery, (Paris: Lahure, 1898).","citation":"Illustrated catalogue of 300 paintings by old masters of the Dutch, Flemish, Italian, French, and English schools, being some of the principal pictures which have at various times formed part of the Sedelmeyer Gallery, (Paris: Lahure, 1898)., no. 93","date":1898,"id":7359,"uri":"https://search.worldcat.org/title/826491"},{"boilertext":"Gemälde moderner und alter Meister, (Wien: Künstlerhaus, 1872).","citation":"Gemälde moderner und alter Meister, (Wien: Künstlerhaus, 1872)., lot 127","date":1872,"id":7360,"uri":"https://search.worldcat.org/title/232969152"},{"boilertext":"\"Accessions of American and Canadian museums: October-December, 1959\", Art quarterly 23, no. 1 (Spring, 1960): p. 89-102.","citation":"\"Accessions of American and Canadian museums: October-December, 1959\", Art quarterly 23, no. 1 (Spring, 1960): p. 89-102., p. 90-91","date":1960,"id":7433,"uri":"https://search.worldcat.org/title/42349262"},{"boilertext":"Seventeenth century landscapes: Italian, French, Flemish, Dutch: problems of authenticity in nineteenth and twentieth century art, (Princeton, NJ: Princeton University Art Museum, 1973).","citation":"Seventeenth century landscapes: Italian, French, Flemish, Dutch: problems of authenticity in nineteenth and twentieth century art, (Princeton, NJ: Princeton University Art Museum, 1973)., p. 53; no. 39 (illus.)","date":1973,"id":3225,"uri":"https://search.worldcat.org/title/13373160"}],"nowebuse":"False","periods":[],"department":"European Painting and Sculpture ","attribute_groups":[{"id":2199321,"term":"European Art","termtype":"Collecting Area"}],"daterange":"A.D. 1600-1700","dateend":1655,"depicted":[],"titles":[{"title":"River Landscape in Moonlight","titletype":"Primary Title","displayorder":1}],"hasimage":"true","creditlinerepro":"","objectnumber":"y1959-134","inscribed":null,"texts":[{"texttype":"Online","textpurpose":"Gallery Label","textentryhtml":"Van der Neer made a specialty of painting nocturnal scenes, a new genre in seventeenth-century Dutch art. Many of these works feature river landscapes with wooded banks and moonlight effects. In this imaginary view, houses line the river, seafowl and boats navigate the water, fishing nets are hung to dry on a horizontal spit of land, and two men—one at lower left seen from behind and another near the left-most cottage—populate the dark shores. A church spire and castle in the distance lead the viewer’s eye to the horizon. The earth tones and thin paint application in the darks are complemented by the blue-gray colors and use of impasto dots and dashes in the sky and water. The strong contrasts of light and dark and the reflections caused by the moon’s luminosity create an evocative atmosphere. Despite the uneven cleaning and compromised condition of the painting, the colored light for which Van der Neer was admired can still be appreciated here.\"Recent acquisitions\", Record of the Art Museum, Princeton University 20, no. 1 (1961): p. 24-27.