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Cuyp ’ s third stylistic phase ( which occurred throughout his career ) is based on the influence of his father.
While it is assumed that the younger Cuyp did work with his father initially to develop rudimentary talents, Aelbert became more focused on landscape paintings while Jacob was a portrait painter by profession.
As has been mentioned and as will be explained in depth below, there are pieces where Aelbert provided the landscape background for his father ’ s portraits.
What is meant by stating that Aelbert learned form from his father is that his eventual transition from a specifically landscape painter to the involvement of foreground figures is attributed to his interaction with his Jacob.
The evidence for Aelbert ’ s evolution to foreground figure painter is in the production of some paintings from 1645-50 featuring foreground animals that do not fit with Jacob ’ s style.
Adding to the confusion that is, Aelbert ’ s stylistic development and the problem of attribution is of course the fact that Jacob ’ s style was not stagnant either.
Their converging styles make it difficult to exactly understand the influences each had on the other, although it is clear enough to say that Aelbert started representing large scale forms ( something he had not done previously ) and placing animals as the focus of his paintings ( something that was specific to him ).

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