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The next phase in the development of Cuyp ’ s increasingly amalgamated style is due to the influence of Jan Both.
In the mid 1640s Both, a native and resident of Utrecht, had just returned to his hometown from a trip to Rome.
It is around this same time that Cuyp ’ s style changed fundamentally.
In Rome, Both had developed a new style of composition due, at least in part, to his interaction with Claude Lorrain.
This new style was focused on changing the direction of light in the painting.
Instead of the light being placed at right angles in relation to the line of vision, Both started moving it to a diagonal position from the back of the picture.
In this new form of lighting, the artist ( and viewer of the painting ) faced the sun more or less contre-jour.
Both, and subsequently Cuyp, used the advantages of this new lighting style to alter the sense of depth and luminosity possible in a painting.
To make notice of these new capabilities, much use was made of elongated shadows.
Cuyp was one of the first Dutch painters to appreciate this new leap forward in style and while his own Both-inspired phase was quite short ( limited to the mid 1640s ) he did, more than any other contemporary Dutch artist, maximize the full chromatic scale for sunsets and sunrises.

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