View of Kasteel Oud-Heusden (also known as Nieuwenroy) c. 1646 - 1647

Roelant Roghman sketched this view of Kasteel Oud-Heusden with pen and brush in grey ink and grey wash, heightened with white over graphite. Notice how the muted palette evokes a sense of quietude, emphasizing the mass of the castle against a softly rendered sky. The composition guides your eye along the castle's facade, punctuated by the rhythmic placement of windows and the stoic geometry of its architectural elements. Roghman uses light and shadow to define form, but the overall effect is one of surface rather than depth, challenging traditional notions of perspective. This flattening of space and attention to structural detail anticipate the formal concerns of later modernist movements. The castle is presented less as a symbol of power than as an object of study, reflecting a broader intellectual shift towards empirical observation. Roghman's emphasis on the castle's form destabilizes established meanings of landscape art, inviting us to consider the interplay between representation and structure.