Cornelis Saftleven (1607-1681) – Cows Kunsthistorisches Museum

Here we observe a pastoral scene dominated by a group of cattle grazing in a field. The composition is structured around these animals, which occupy nearly the entirety of the foreground and middle ground. A dark, imposing cow stands prominently on the left, its form rendered with considerable detail in terms of texture and light. Several other cows are arranged in varying poses: one lies down, another grazes peacefully, while a white-grey animal is positioned centrally, drawing the viewer’s eye.
The artist has employed a muted palette, primarily consisting of earthy tones – browns, greens, and greys – which contribute to a sense of naturalism and tranquility. The light appears diffused, suggesting an overcast day or perhaps early morning/late afternoon hours. This soft illumination minimizes harsh contrasts and lends the scene a gentle atmosphere.
Behind the cattle, a dense thicket of trees forms a backdrop, painted with looser brushstrokes that create depth and suggest distance. A few birds are visible in the sky, adding a touch of dynamism to an otherwise static composition. The horizon line is relatively high, emphasizing the expanse of the field and reinforcing the feeling of open space.
Beyond the straightforward depiction of livestock, there’s a subtle suggestion of prosperity and abundance. Cattle were valuable assets in agricultural societies, representing wealth and sustenance. The careful rendering of their forms suggests an appreciation for these animals not merely as sources of food or labor, but also as subjects worthy of artistic attention.
The scene evokes a sense of quiet contemplation and connection to the land. It’s likely intended to convey a feeling of rural simplicity and harmony – a moment captured in time that celebrates the rhythms of agricultural life. The absence of human figures further reinforces this focus on the natural world and its inhabitants, allowing the viewer to immerse themselves in the peacefulness of the setting.