Coast Scene

Painting and Sculpture of Europe

c. 1655

Attributed to Reinier Nooms (Reinier Zeeman; Dutch, c. 1623-c. 1668)

The Dutch Republic’s pride in its successful maritime endeavors like fishing, shipbuilding, and foreign trade contributed to the great popularity of marine paintings like this one. Such coastal scenes were one of the most popular landscape genres on the market. Here, the fishing vessels used to catch herring, called herring busses, float atop a glassy sea that stretches to meet the low horizon, disappearing into the expansive sky full of billowing clouds. Atop the ships’ tall masts, Dutch flags flutter in the wind.

Status: Currently Off View
Department: Painting and Sculpture of Europe

Artist: Reinier Nooms, called Zeeman
Title: Coast Scene
Place: Netherlands (Artist's nationality:)
Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.: 1645–1665
Medium: Oil on canvas
Dimensions: 53.7 × 48.6 cm (21 1/8 × 19 1/8 in.); (Framed): 73.4 × 68.9 × 7 cm (28 7/8 × 27 1/8 × 2 3/4 in.)
Credit Line: Gift of Byron L. Smith
Reference Number: 1890.40
IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Learn more.: https://api.artic.edu/api/v1/artworks/495/manifest.json

“Chicago an Art Center,” Chicago Daily Tribune, July 3, 1890, in scrapbooks maintained by Ryerson and Burnham Libraries, Art Institute of Chicago.
Art Institute of Chicago, Catalogue of Objects in the Museum (Chicago, 1898), p. 109, no. 151.
Art Institute of Chicago, General Catalogue of Objects in the Museum (Chicago, 1901), p. 140.
Art Institute of Chicago, General Catalogue of Objects in the Museum (Chicago, 1904), p. 146.
Art Institute of Chicago, Important Facts Regarding the Art Institute of Chicago (Chicago, 1905), pp. 4, 9, ill.
Art Institute of Chicago, General Catalogue of Sculpture, Paintings and Other Objects (Chicago, 1907), p. 157.
Art Institute of Chicago, Catalogue of Paintings, Drawings, Sculpture and Architecture (Chicago, 1917), p. 111.
Art Institute of Chicago, Handbook of Sculpture, Architecture, Paintings, and Drawings (Chicago, 1920), p. 17.
Art Institute of Chicago, Handbook of Sculpture, Architecture and Paintings (Chicago, 1922), p. 17.
Art Institute of Chicago, Handbook of Sculpture, Architecture, and Paintings (Chicago, 1923), p. 17.
Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago, 1925), p. 129.
Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago, 1932), p. 145.
Art Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961), p. 487.

San Francisco, 1939 Golden Gate International Exposition on San Francisco Bay, February 18–December 2, 1939, no. 72.

Presumably Prince Anatole Demidoff, Villa San Donato, near Florence (died 1870); by descent to his nephew Prince Paul Demidoff (died 1885) and later to Paul Demidoff’s widow, Helen Troubetskoi, Pratolino, near Florence [the picture’s inclusion in the Demidoff collection according to a letter from Durand-Ruel to Charles L. Hutchinson dated July 29, 1890, Art Institute archives]; included in the group of 13 paintings from the Demidoff collection sold to trustees of the Art Institute through Durand-Ruel, Paris in 1890, as van de Capelle; purchase price reimbursed by Byron L. Smith, 1890.

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Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.

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Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.

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IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world.

Learn more.