扬·Goyen是一个鞋匠的儿子，并开始作为学徒莱顿，他出生的小镇。像许多荷兰人他的时间画家扬·Goyen在镇学习艺术哈勒姆与以赛亚范德维德。在35岁时，他建立在永久性的工作室海牙（海牙）。克伦肖讲述（并提到的来源）的面包车Goyen的山水画很少卖高价，但他通过增加自己的生产，具有廉价的颜料有限的调色板薄赶紧画弥补了单件的适度值。尽管他的市场创新，他总是不仅通过相关工作作为一个艺术品经销商和拍卖，但也受到郁金香和房地产投机寻求更多的收入。虽然后者通常是投资资金的一个安全途径，在面包车Goyen的经验，这导致了巨大的债务。保卢斯·波特租了房子他一个。虽然他似乎已经保持一个车间，他唯一的注册瞳孔Nicolaes面包车贝尔赫姆，扬·斯特恩和迪恩范德KABEL。他影响了画家的名单长得多。

在1652和1654，他被迫出售他的油画和版画艺术的收藏，他随后被移动到一个较小的房子。他在1656年死在海牙，仍然令人难以置信的18000荷兰盾的债务，迫使他的遗孀出售其剩余的家具和画作。凡Goyen的麻烦也可能影响了他的学生和儿子在法律的早期业务前景扬·斯特恩，谁离开海牙于1654年

通常情况下，17世纪（也称为的荷兰画家荷兰黄金时代）将分为四个类别之一，画家肖像，风景，静物，或流派。荷兰绘画是高度专业化的，很少能艺术家希望实现在多个领域的伟大绘画的一生。扬凡Goyen将主要划分为与日常生活中的流派科目的眼睛风景画家。他画了许多在海牙和周围的运河以及周围的农村村庄的代尔夫特，鹿特丹，莱顿和豪达。十六，十七世纪的其他流行的荷兰风景画家是雅各面包车雷斯达尔，Aelbert克伊普，亨德里克Avercamp，Ludolf Backhuysen，Meindert霍贝玛，AERT范德的Neer。

扬凡Goyen将使用支持主要的薄橡木开始绘画。为了这个面板中，他会在擦洗薄动物几层皮胶。用刀片，他会然后刮在整个表面上的着色铅白薄层充当接地和填充面板的低区。地面上有色浅棕色，有时带红色，赭石或颜色。

接着，面包车Goyen将松散的和非常迅速勾画出与笔墨画没有进入他的主题的小细节场景。这种核桃墨水图纸可以清楚地看出他的一些作品的画清淡领域。对于引导，他会变成一个详细的图纸。场景将被取材于生活在户外，然后存放在工作室作为参考材料。由当时的艺术家素描很少，因为他们今天看到在自己的权利的艺术品。

在他的调色板，他将碾出中性灰色，umbers，赭石和看起来像他们从很土的，他画拉土绿色的颜色集合。一个罩光油中被用作车辆碾他的动力颜料油漆成，然后用来帮助申请油漆，他可以很容易地融入薄层。

这幅画的暗区是保持非常薄而透明与大方量的油介质中。撞击画这些部分的光线会被丢失，吸收到绘画地上。图像的较亮的区域进行处理较重和不透明与混入油漆的铅白大方量。在光部分的光绘下降被反弹给观众。其效果是一个惊人的现实主义和立体质量。成品画的表面类似于一个流体柔顺摩丝，巧妙地鞭打和用刷子模型。

据艺术史学H.-U. 贝克“在他组成的自由17世纪50年代的海景他达到了他创作的顶峰，产生惊人的完美画。”

Jan Goyen is the son of a shoemaker, and began as an apprentice in Leiden, he was born in the town. Like many Dutch painters of his time, Yang Goyen studied art in town Haarlem with Isaiah van Deivid. At the age of 35, he built a permanent studio in Hague (Hague). Crenshaw tells (source and mentioned) van Goyen landscapes rarely sell at high prices, but he by increasing their production, with cheap paint limited palette for painting to thin piece of moderate value. Despite his market innovation, he is always not only through the relevant work as an art dealer and auction, but also by tulips and real estate speculators seeking more revenue. While the latter is usually a safe way to invest money in the van Goyen experience, which leads to huge debt. Paulus Potter rented a house he. Although he seems to have maintained a workshop, he's the only registered pupil of Bell Herm van Nicolaes, Jan Stern and van der KABEL. He influenced the artist's list much longer.
In 1652 and 1654, he was forced to sell his paintings and prints in the art collection, which he subsequently moved to a smaller house. He died in 1656 in Hague, is still an incredible 18000 Holland shield debt, forcing his widow to sell its remaining furniture and paintings. Where Goyen's troubles may also have affected his student and son's early business prospects in law, Jan Stern, who left Hague in 1654
Typically, seventeenth Century (also known as the Holland painter of Holland golden age) will be divided into one of four categories, a painter of portraits, landscapes, still lifes, or schools. Holland painting is highly specialized, very few artists hope to achieve the great painting in a number of areas of life. Yang Fan Goyen will be mainly divided into the daily life of the school subjects in the eyes of the landscape painter. He painted many in Hague and around the Rotterdam canal and the Delft and the surrounding rural village, Leiden and gouda. In seventeenth Century sixteen, the other popular Holland landscape painter Jacob van Lester Dahl, Hendrik Avercamp, Aelbert Cuyp, Ludolf Backhuysen, Meindert AERT van der Neer hobbema.
Jan Goyen will be used to support the main thin oak start painting. For this panel, he will scrub several layers of leather for thin animals. With a blade, then he will blow over the entire surface of the colored white thin layer serves as the ground and the lower zone filled panel. The ground color is light brown, sometimes with red ochre, or color.
Next, van Goyen will be loosely and very quickly sketched out with little details of the ink painting without entering his theme. This walnut ink drawing can be clearly seen in some of his paintings in the light of the field. For guidance, he will become a detailed drawing. The scene will be drawn from living outdoors, and then stored in the studio as a reference material. By the time the artist sketch very little, because they see today in their own right art.
In his palette, he will run out of neutral grey, umbers, ochre and look like them from earth, he painted green color set to pull the soil. A cover varnish is used as a vehicle to grind his power paint into paint and then used to help apply the paint, which he can easily incorporate into the thin layer.
The dark area of the painting is very thin and transparent and generous. The light that strikes the parts will be lost and absorbed into the painting. The bright regions of the image processing is heavy and opaque white paint and mixed with a generous amount. The light in the light portion of the painting is bounced back to the viewer. The effect is an amazing realism and a solid quality. The finished painting surface similar to a fluid supple mousse, cleverly whipped and brush model.
According to art history H.-U. Beck "in his composition of the free 1650s sea view he reached the pinnacle of his creation, producing an amazing perfect painting."