Who painted Pool at the Edge of a Wood?

Pool at the Edge of a Wood was painted by Herman van Swanevelt in 1628.

Where can I see Pool at the Edge of a Wood?

Pool at the Edge of a Wood is held by National Gallery of Art.

What movement is Pool at the Edge of a Wood?

Pool at the Edge of a Wood is associated with Baroque.

Can I buy a print of Pool at the Edge of a Wood?

Museum-quality prints of Pool at the Edge of a Wood are available made-to-order from Artifact World Gallery.

Artwork

Pool at the Edge of a Wood

Herman van Swanevelt , 1628

Pool at the Edge of a Wood is an ink drawing by the Baroque artist Herman van Swanevelt. It dates from 1628 and is held in the collection of the National Gallery of Art.

Inscription: Inscribed:in later hand, upper center verso: 2015 / Ital Flemish / 17; lower center verso: 551 / W[?]

About this work

Overview

Herman van Swanevelt’s 1628 drawing, titled Pool at the Edge of a Wood, depicts a quiet natural setting. Executed on laid paper, the work combines pen work, brown ink, and brush strokes over a black chalk underdrawing, creating a monochrome landscape that centers on a still pool bordering a forested area.

Subject & Meaning

The composition presents a calm pool framed by trees and low vegetation, suggesting a moment of repose within a wooded environment. The restrained palette and measured rendering invite contemplation of the scene’s stillness, emphasizing the interplay between water, foliage, and the surrounding land.

Technique & Style

Swannevelt employed a layered approach: an initial black chalk sketch establishes the forms, followed by brown ink applied with both pen and brush. Varying line weight and cross‑hatching generate texture on trunks, leaves, and water surface, while subtle tonal gradations convey depth across the foreground and distant woods.

History & Provenance

Created in 1628, the drawing belongs to the early phase of Swannevelt’s career, when he was active in the Dutch and Italian Baroque circles. The work has remained in private collections before entering a museum inventory in the late twentieth century, where it is catalogued as a representative example of his landscape studies.