Hercules Segers, “Ruins of the Abbey of Rijnsburg from the South,” circa 1625-30, etching on paper, 7 7/8 x 12 9/16 in. © Staatliche Museen zu Berlin

The eclectic landscapes by a great Dutch experimental printmaker compose an otherworldly exhibition at The Metropolitan, New York, this spring. How will you interpret these thought-provoking impressions?

On view now through May 21 at the Metropolitan, New York, “The Mysterious Landscapes of Hercules Segers” is an entertaining exhibition that explores the life, career, and prints of experimental Dutch printmaker Hercules Segers (1589-1638). The show marks the first exhibition in the United States for the influential artist, whose works were even collected by Rembrandt, who owned eight of Segers’ paintings and a printing plate.

The Met writes, “Segers’ surviving works are extremely rare: only 10 impressions of his prints are in museums in the United States (one in The MET collection), and only 15 paintings have been attributed to the artist. ‘The Mysterious Landscapes of Hercules Segers’ will feature a selection of these paintings, in addition to almost all of Segers’ prints in varying impressions. The Rijksmuseum, Amsterdam, whose collection of Segers’ work is the largest in the world, is generously lending its entire holdings (74 prints, two oil sketches, and one painting).

“Segers’ highly experimental approach to printmaking has given him a cult following among modern and contemporary artists. His works appear so much out of their time that filmmaker Werner Herzog incorporated details of Segers’ landscapes in a piece — titled ‘Hearsay of the Soul’ — that he created for the 2012 Whitney Biennial.”

To learn more, visit The Metropolitan.

This article was featured in Fine Art Today, a weekly e-newsletter from Fine Art Connoisseur magazine. To start receiving Fine Art Today for free, click here.

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Andrew Webster
Andrew Webster is the Editor of Fine Art Today and works as an editorial and creative marketing assistant for Streamline Publishing. Andrew graduated from The University of North Carolina at Asheville with a B.A. in Art History and Ceramics. He then moved on to the University of Oregon, where he completed an M.A. in Art History. Studying under scholar Kathleen Nicholson, he completed a thesis project that investigated the peculiar practice of embedded self-portraiture within Christian imagery during the 15th and early 16th centuries in Italy.

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