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Salomon van Ruysdael, who was a few years younger than van Goyen, shares with him the fame of tonal landscape in Holland, though he moved more slowly and differed considerable from van Goyen's vivacious temperament. In his landscape production he is less versatile and more uniform than van Goyen, although for a while, and rather late in his career, (from about 1659 to 1662) he tried his hand at a different subject matter, painting some still-lifes and hunting trophies.
In his still-lifes Ruysdael always represented objects set on a marble tabletop. Probably he painted the artificial marble he had invented, which, according to Houbraken could not be distinguished from the real thing.
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