Contrary to his cousins Cornelis (1797-1857), and Jan Adam (1804-1862), Frederik Marinus developed an interest for landscape painting and was furthermore tutored by the so-called Prince of Dutch romantic landscape painting Barend Cornelis Koekkoek (1803-1862). In September 1833 Kruseman made his debut at the Exhibition for Living Masters in The Hague, exhibiting a landscape. The natural world and practice of landscape painting played a central role in Kruseman's formation and style, with a focus on winter scenes.
Kruseman travelled extensively through Northern Europe before settling in Brussels in 1841. Between 1852 and 1856, Kruseman lived once again in Haarlem, the city where he was born, but returned to Brussels in 1856 where he remained for the rest of his life.

Typical for Kruseman’s winter scenes are the pink and yellow tones of the sunset that softens the cold winter day and creates a romantic atmosphere. The present lot is a fine example of the artist’s favourite scene where the depiction transports the beholder to a fantastical winter scene showing figures interacting with the coldness each in their own way. The tree groups show the characteristic coral-like tree branches and the depth in the present panoramic landscape is masterly executed, just as the rendering of the black mirror surface of the ice and the marks left by skaters. A warm light enlights the scene and bathes the landscape in a dreamy atmosphere.

We are grateful to Dr. Jan de Meere for confirming the authenticity of the present lot after first-hand inspection (25 June 2020) and referring to the painting as one of Kruseman’s absolute masterpieces with the richely executed staffage. Dr. de Meere confirms that the fecit initials and date are authentic and refers to a similar work by F.M. Kruseman which also has a false Schelfhout signature (cat.no. 21).