阿尔特范德内尔Aert van der Neer（1603年—1677年11月9日），荷兰黄金时代山水画家。
最近的(2008)研究的Rene van狄克Gorinchem区域档案建立了van Der从不在Gorinchem出生。根据阿诺德HoubrakenVan Der从不住在Gorinchem作为一个管家的领主女,这将占到没有任何可以追溯到早年照片。他成为一个业余画家可能在接触阿姆斯特丹画家拉斐尔和Jochem Govertsz Camphuysen,Lysbeth他与他的妹妹在1629年结婚。他们有六个孩子:Grietje(1629),伊矶伦(1635年~),科妮莉亚(1642),伊丽莎白(1645年),皮特(1648),和智囊机构(1650)。五个孩子受洗的Nieuwe Kerk在阿姆斯特丹,离他住的地方。他的儿子伊矶伦后来成为一个肖像画家本人。
最早的照片,Van Der从不耦合的字母组合A.V.和交错大桥街冬季景观的日期博物馆在阿姆斯特丹(1639年),另一个在马丁斯集合基尔(1642)都不成熟的作品,质量较差。更好的是冬季景观(1643),和月光的场景(1644)一次d 'Arenberg在布鲁塞尔的集合。
1652年Van Der从未目睹了火消耗旧市政厅的阿姆斯特丹。他把这次事故两个或三个图片的主题,现在的画廊柏林和哥本哈根。尽管阿姆斯特丹似乎不断Van Der从不的住所,图画告诉他非常熟悉运河和森林哈勒姆和莱顿和到达的默兹和莱茵.多德雷赫特艾伯特Cuyp的家,有时发现在他的照片,存在大量的证据,两人之间的友谊。他们按手的一段生活相同的画布,在他们离开他们的共同标志。在一些名字的签名,对他人的更有说服力的签名风格。有风景的公爵的集合贝德福德和西敏寺,Cuyp代表冻梅斯与渔民包装万里,或月亮反射光线在河上的平静的水域。这些模型之后,Van Der从不似乎已经奏效。
月光下的景观桥,范德从不“夜曲”之一(夜景)(1648 - 1650);石油面板;78.4 x 110.2厘米(30 x 43 3/8 7/8。);展出,国家美术馆的艺术,华盛顿特区
同样的感觉和类似的主题在Cuyp Van Der从不,前后关系,但Cuyp是领先的天才。Van Der从不得到援助他,Cuyp预期从范德从不没有。他小心翼翼地生动他朋友的照片,当被要求这样做,数据和牛。在共同制作的图片,我们发现Van Der从不在多德雷赫特的存在。我们附近多德雷赫特的日落景观罗浮宫显然,Cuyp画前景和奶牛。在伦敦国家美术馆图片Cuyp迹象显示他的名字在挤奶女工的桶,其图和红裙子与光漆效果的边缘Van Der从不的景观。几个渔民带着一只狗,和运动员攀升惊讶一些鸭子,是Cuyp资本Van Der从不Staedel研究所在法兰克福.
Recent (2008) research by René van Dijk of the Gorinchem Regional Archive has established that Van Der Neer was born in Gorinchem. According to Arnold Houbraken, Van Der Neer lived in Gorinchem as a steward to the lords of Arkel, which would account for the absence of any pictures dating from his early years. He became an amateur painter possibly upon contact with the Amsterdam painters Rafael and Jochem Govertsz Camphuysen, whose sister Lysbeth he married in 1629. They had six children: Grietje (1629), Eglon(~1635), Cornelia (1642), Elisabeth (1645), Pieter (1648), and Alida (1650). Five of the children were baptized in the Nieuwe Kerk in Amsterdam, not far from where he lived. His son Eglon later became a portrait painter himself.
Van Der Neer was barely able to support his family by selling his landscapes, which were not highly valued. In 1659 it seemed necessary to supplement his income by keeping a wine tavern in the Kalverstraat, but two years later he went broke. He died in Amsterdam in abject poverty, and his art was so little esteemed that the pictures left by him were valued at about five shillings apiece.
The earliest pictures in which Van Der Neer coupled his monogram of A.V. and D.N. interlaced with a date are a winter landscape in the Rijksmuseum at Amsterdam (dated 1639), and another in the Martins collection at Kiel (1642) immature works both, of poor quality. Far better is the Winter Landscape (1643), and the Moonlight Scene (1644) once in the d'Arenberg collection in Brussels.
In 1652 Van Der Neer witnessed the fire which consumed the old town-hall of Amsterdam. He made this accident the subject for two or three pictures, now in the galleries of Berlin and Copenhagen. Though Amsterdam appears to have been constantly Van Der Neer's domicile, his pictures tell that he was well acquainted with the canals and woods about Haarlem and Leiden, and with the reaches of the Meuse and Rhine. Dordrecht, the home of Albert Cuyp, is sometimes found in his pictures, and substantial evidence exists that there was friendship between the two men. At some period of their lives they laid their hands to the same canvases, on each of which they left their joint mark. On some it was the signature of the name, on others the more convincing signature of style. There are landscapes in the collections of the dukes of Bedford and Westminster, in which Cuyp has represented either the frozen Maes with fishermen packing herrings, or the moon reflecting its light on the river's placid waters. These are models after which Van Der Neer appears to have worked.
The same feeling and similar subjects are found in Cuyp and Van Der Neer, before and after their partnership, but Cuyp was the leading genius. Van Der Neer got assistance from him; Cuyp expected none from Van Der Neer. He carefully enlivened his friend's pictures, when asked to do so, with figures and cattle. It is in pictures jointly produced by them that we discover Van Der Neer's presence at Dordrecht. We are near Dordrecht in the landscape sunset of the Louvre, in which Cuyp evidently painted the foreground and cows. In the National Gallery, London picture Cuyp signs his name on the pail of a milkmaid, whose figure and red skirt he has painted with light effectiveness near the edge of Van Der Neer's landscape. Again, a couple of fishermen with a dog, and a sportsman creeping up to surprise some ducks, are Cuyp's in a capital Van Der Neer at the Staedel Institute inFrankfurt.
Van Der Neer's favourite subjects were the rivers and watercourses of his native country either at sunset or after dark. His peculiar skill is shown in realizing translucence which allows objects even distant to appear in the darkness with varieties of warm brown and steel greys. Another of his fancies is to paint frozen water, and his daylight icescapes with golfers, sleighers, and fishermen are as numerous as his moonlights. But he always avoids the impression of frostiness, which is one of his great gifts.
His pictures are not scarce. They are less valuable in the market than those of Cuyp or Hobbema; but, possessing a charm peculiarly their own, they are much sought after by collectors. Out of about one hundred and fifty pictures accessible to the public, the choicest selection is in the Hermitage at Saint Petersburg. In England paintings from his brush are to be found at the National Gallery and Wallace Collection.