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George Hendrik Breitner (1857-1923) Was Among the Most Successful Dutch Painters of the Nineteenth Century
George Hendrik Breitner (1857-1923) was among the most successful Dutch painters of the nineteenth century. Well known for his paintings of city scenes, a series of young women dressed in kimonos, cavalrymen and horses, Breitner also depicted cats in his sketches, paintings, and photo- graphs. Breitner was a cat lover: cats were always roaming around in his house and in his studio. This book contains a selection of his sketches and photographs of cats. George Hendrik Breitner Born in Rotterdam in 1857, George Hendrik Breitner began his studies at the Academy of Art, The Hague, in 1876. There he met painters of the Hague School who, influenced by the French Barbizon painters, preferred realism to romanticism. Soon known for his ability to paint horses, Breitner was hired by Hendrik Willem Mesdag in 1881 to paint the horses in his renowned panorama painting of Scheveningen, which can still be visited today in a specially built rotund gallery in The Hague. A year later Breitner befriended Vincent van Gogh, with whom he often went sketching in and around The Hague. Attracted by its vibrant artistic and cultural life spurred by a revival of economic growth, Breitner moved to Amsterdam in 1886. Here Breitner captured the city’s street life in many of his paintings. Horses remained an important subject for the artist, but he soon replaced his caval- ry horses with those pulling carts and trams. He often took his sketchbook on his walks through the town and, from around 1890, he would also take his Kodak camera out with him to capture scenes that would find their way into his paintings. -
BARTHOLOMEUS JOHANNES VAN HOVE (The Hague 1790 – the Hague 1880)
BARTHOLOMEUS JOHANNES VAN HOVE (The Hague 1790 – The Hague 1880) De Grote Houtpoort, Haarlem signed on the boat in the lower right B. VAN HOVE oil on panel 1 19 /8 x 26 inches (48.6 x 66 cm.) PROVENANCE Lady V. Braithwaite Lady V. Braithwaite, Eighteenth and Nineteenth Century Paintings and Drawings, Sotheby’s, London, May 17, 1967, lot 90, where bought by M. Newman, Ltd., London Frost & Reed Ltd., London Vixseboxse Art Galleries, Inc., Cleveland Heights, Ohio Private Collection, Ohio, until 2015 LITERATURE The Connoisseur, volume 166, September 1967, p. XLIV, in an advertisement for M. Newman, Ltd., London, reproduced E. Bénézit, “Bartholomeus-Johannes van Hove” in Dictionnaire des Peintres, Sculpteurs, Dessinateurs et Graveurs, volume 5, Libraire Gründ, Paris, 1976, p. 634 In a large panel, under radiant skies, the old fortifications of Haarlem abut the Spaarne River. The Grote Houtpoort rises majestically in the foreground, dominating the scene with its weathervane reaching to the composition’s edge. The Kalistoren Tower, used for the storage of gunpowder, is in the middle with the Kleine Houtpoort visible in the distance. Built in 1570, the Grote Houtpoort was at the end of the Grote Houtstraat, one of the main roads from the Grote Markt that led outside the city walls. Beyond the gate lay the wooded area, called the Haarlemmerwoud. The temperature is mild, over the arched bridge of the Grote Houtpoort, residents contentedly stroll, conversed or stop to admire the view. Below boatmen propel their craft across glass-like waters with shimmering reflections and floating swans. The sense of well-being pervades this orderly view of the city’s great landmarks that dominate its skyline. -
Newsletter 35
IPC Executive Board: Sara Velas, President (USA-Los Angeles) [email protected] Dr. Guy Thewes, Vice-President (LU - Luxembourg) Patrick Deicher M.A., Treasurer (CH – Lucerne) Dr. Mimi Colligan (AU-Melbourne) Dominique Hanson (BE-Brussels) Mathias Thiel (GE - Berlin) Newsletter no. 35, June 2015 Ryszard Wójtowicz M.A. (PL- Rogoż) Content Register for the 24 th IPC conference Register for the 24 th IPC conference ............. 1 The Grand Moving Mirror of California Travels to Seoul, Korea ................................. 2 We hope that you all received the official invitation for the 24 th IPC conference. If not .............. 3 Re-Opening of the Asisi panorama please inform the secretariat and check the Gettysburg Cyclorama Original Unveiled to invitation here instead: Public .............................................................. 3 http://panoramacouncil.org/downloads/Of Opening exhibition J’aime les panoramas .. 4 fical_invitation_International_Panorama_Conf erence_2015.pdf Sevastopol panorama celebrates ................. 5 Crankies at the American Folk Art Museum . 5 Are you excited to come? Please use this link to register: Crankies in the press ..................................... 6 http://panoramacouncil.org/what_we_do/i Free wheeling ................................................ 6 nternational_panorama_conferences/upcomi 2015 Mesdag Year in The Hague with ng_conference/registration/ reopened Panorama Mesdag ....................... 6 ........................................................................ 7 New publications -
Girl with a Flute
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Dutch Paintings of the Seventeenth Century Attributed to Johannes Vermeer Johannes Vermeer Dutch, 1632 - 1675 Girl with a Flute probably 1665/1675 oil on panel painted surface: 20 x 17.8 cm (7 7/8 x 7 in.) framed: 39.7 x 37.5 x 5.1 cm (15 5/8 x 14 3/4 x 2 in.) Widener Collection 1942.9.98 ENTRY In 1906 Abraham Bredius, director of the Mauritshuis in The Hague, traveled to Brussels to examine a collection of drawings owned by the family of Jonkheer Jan de Grez. [1] There he discovered, hanging high on a wall, a small picture that he surmised might be by Vermeer of Delft. Bredius asked for permission to take down the painting, which he exclaimed to be “very beautiful.” He then asked if the painting could be exhibited at the Mauritshuis, which occurred during the summer of 1907. Bredius’ discovery was received with great acclaim. In 1911, after the death of Jonkheer Jan de Grez, the family sold the painting, and it soon entered the distinguished collection of August Janssen in Amsterdam. After this collector’s death in 1918, the painting was acquired by the Amsterdam art dealer Jacques Goudstikker, and then by M. Knoedler & Co., New York, which subsequently sold it to Joseph E. Widener. On March 1, 1923, the Paris art dealer René Gimpel recorded the transaction in his diary, commenting: “It’s truly one of the master’s most beautiful works.” [2] Despite the enthusiastic reception that this painting received after its discovery in the first decade of the twentieth century, the attribution of this work has frequently Girl with a Flute 1 © National Gallery of Art, Washington National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Dutch Paintings of the Seventeenth Century been brought into question by later scholars. -
In Goed Gezelschap Van Talent Tot Meester Van Atelier Tot Amsterdams Kunstacademie Impressionisme
In goed gezelschap Van talent tot meester Van Atelier tot Amsterdams Kunstacademie impressionisme Stel: je wilt kunstenaar worden. Amsterdam prijst zich gelukkig. Met Vroeg 1800. Als het in de familie zit, August Allebé, docent en directeur zoals bij de Koekkoeks, bof je. Dan aan de Rijksacademie. Een kanjer. krijg je les van opa, papa, broer of Maar ook met vrije, spontane oom. Anders kun je elders in de leer. schilders als Breitner, Willem Witsen Schilderateliers. Kunstacademies en Isaac Israels. Ondertussen wordt zijn er nog maar mondjesmaat. Wel Arti behoudend. Sint Lucas frist de tekenscholen zonder schilderlessen. boel weer op. Lees meer op pag. 4 Lees meer op pag. 66 Romantiek Rotterdamse Den Haag Academie Den Haag is er al vroeg bij. Met de Hierdoor tot Hooger. Rotterdam oudste Teekenacademie van ons land meldt zich. Van Mastenbroek boert (1682). Typisch hofstad: de grote goed, Van Voorden wordt chroni- ateliers, Bart van Hove, Andreas queur, Willem Hussem en Klaas Schelfhout, Hendrikus van de Sande Gubbels geven les, de Academie Bakhuyzen, Pulchri, samen aan het wordt vernoemd naar Willem de werk, samen op reis. Kooning. Toch wordt de stad nog geen sprankelende kunstenstad. Lees meer op pag. 24 Lees meer op pag. 80 Romantiek Academie Amsterdam Minerva Amsterdam is Den Haag niet. Het is Daar is het Hoge Noorden. er veel losser. En de romantiek ligt er Groningen. Met Minerva, Pictura, de op straat, voor wie haar maar vinden broertjes Mesdag, Eerelman en later wil. Springer, Eversen, Greive en Rust het kleurrijke eigen expressionisme blinken uit, Fodor verzamelt, Arti van De Ploeg: Wiegers, Altink, Van et Amicitiae verbroedert. -
De Haagse School
20 plekken in Den Haag en Noorden In het voetspoor van geschilderd door de Haagse School Fiets- en Van Gogh de Haagse School wandelroutes: > strand Weissenbruch > duinen > binnenstad Mesdag Israëls Zie Den Haag door de ogen van In the footsteps of Maris See The Hague through the eyes of Mauve The Hague School Bosboom Gemeentemuseum Mariët Herlé 20 locations Cycling and Jelle Hellinga in The Hague walking: 24 START and Noorden > beach as depicted > dunes by the > citycentre Hague School In het voetspoor van de Haagse School 20 plekken in Den Haag en Noorden geschilderd door de Haagse School In the footsteps of The Hague School 20 locations in The Hague and Noorden as depicted by The Hague School Mariët Herlé Jelle Hellinga de Overkoming Den Haag 2015 “Land en lucht", zo heet een van de latere werken van "Land and sky" is the title of one of the later works of J.H. Weissenbruch. Waar dat was, deed er niets toe. De J.H.Weissenbruch; the precise location depicted was schilders van de Haagse School wilden doordringen tot un-important. The painters of the Hague School sought het universele, tot de essentie van licht en lucht en water. to pene-trate to what was universal, the essence of light, Dat deden zij in en rond Den Haag aan het eind van de 19e sky and water. They were doing this at the end of the 19th eeuw, in een stad die al een flinke industrie kende. Op hun century in and around The Hague, where there was already schilderijen zie je dat bijna niet terug, ze gaven de natuur considerable industrial activity. -
Personal Details Short Bio Education Work Experience Skills
Curriculum Vitae: Rob Bothof personal details name: Rob Bothof email: [email protected] website: www.robbothof.com short bio Rob Bothof (1977) works as a creative coder, artist, inventor, engineer, educator and all round technical problem solver, covering an exciting blend of commercial, technical, artistic and non profit projects. His artistic work emerges in the crossfire between art and science, is primarily focused on technology and encompasses a broad range of interests, such as machine interaction, instrument building, autonomous systems, video games, sound design, improvisation, animation and procedural generation. Rob enjoys working together with a broad variety of companies, institutions, designers, visual-artists, architects and musicians. work experience 2005 – now Freelance / independent (creative coding, art and audiovisual productions) 2001 – 2003 Untouchable Graphics, The Hague, the Netherlands (interaction design) 1998 – 2000 DPI Animation House, The Hague, the Netherlands (3d-modeling, 3d-animation, video-montage) 1998 Delftnet, Delft, the Netherlands (graphic design, web design) education 2007 ArtScience Master, Royal Academy of Art The Hague (discontinued) 2000 – 2005 Communication Design, Willem de Kooning Academy (Interactive media, Animation, Audiovisual design) (diploma attained in 2005 in the discipline of Interactive Media) 1996 – 1998 Computer Science, Technical University Delft (discontinued) 1989 – 1996 Stedelijk Gymnasium, Schiedam (graduated) 1 skills language Proficient in Dutch and English overall Multi -
George Hendrik Breitner: Pioneer of Street Photography
Alba Campo Rosillo exhibition review of George Hendrik Breitner: Pioneer of Street Photography Nineteenth-Century Art Worldwide 11, no. 3 (Autumn 2012) Citation: Alba Campo Rosillo, exhibition review of “George Hendrik Breitner: Pioneer of Street Photography,” Nineteenth-Century Art Worldwide 11, no. 3 (Autumn 2012), http://www. 19thc-artworldwide.org/autumn12/campo-rosillo-reviews-george-hendrik-breitner. Published by: Association of Historians of Nineteenth-Century Art. Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. Rosillo: George Hendrik Breitner: Pioneer of Street Photography Nineteenth-Century Art Worldwide 11, no. 3 (Autumn 2012) George Hendrik Breitner: Pioneer of Street Photography Institut Néerlandais (Dutch Institute), Paris November 3, 2011 – January 22, 2012 Publications: Hans Rooseboom, George Hendrik Breitner: The Photographer. Online publication at the Dutch Institute for Art History Website (RKD), http:// breitnerenglish.rkdmonographs.nl/, 2011. Hans Rooseboom, George Hendrik Breitner: Pioneer of Street Photography [booklet]. Paris: Dutch Institute, 2011. 13 pp; 13 b/w illustrations € 3 George Hendrik Breitner (1857–1923), a daring Dutch artist from the late nineteenth century, aimed at pushing Dutch impressionism from the idealized countryside to the busy streets of Amsterdam. Born and briefly artistically trained in Rotterdam, Breitner left for The Hague in 1876 to learn from the artists of The Hague School. But it was his contact with Vincent van Gogh that encouraged his taste for the “people,” the working class in its daily activity. In addition to this, he became associated with the avant-garde group called the Tachtigers (Eighteen-Eighties Artists), which promoted a new writing style, between realism and impressionism. -
Mesdag-Van Houten, Sientje
Sientje Mesdag-van Houten, Foral Still Life Saint-Josse-ten-Noode 1847 – 1943 Brussels oil on panel 16 ¾ by 14 ¾ inches (43 by 37.5 cm.) signed lower right: ‘S M.vH’ provenance: Brabantse KunstJaleriJ, Oirshot, The Netherlands; Private collection, The Netherlands note: SientJe van Houten married Hendrik Willem Mesdag in April 1856 and seven years later in 1863 their only child, Klaas was born. In 1864, her father died and left her a substantial inheritance. This change in her financial situation allowed Hendrik to leave his father’s bank where he had been working for siXteen years and concentrate on his painting and eventually become a professional artist. SientJe accompanied her husband when he went to Brussels to study under Willem Roelofs. Their house in Rue Van de Weyer was often the focal point for Dutch and Belgian painters, and it could well have been the conversations on art at these soirées that stimulated SientJe’s mind and enhanced her artistic talent. She, like her husband, not only received instruction from Roelofs but also from Hendrik’s cousin the professional artist, Lawrence Alma-Tadema. SientJe van Houten accompanied her husband when he spent the summer of 1866 at the Oosterbeek artist colony and again in the summer of 1868 on the island of Nordeney where she, like Hendrik, spent time painting and sketching seascapes. The couple moved to The Hague in 1869, where they lived in a house on Anna Paulownastraat and later in a house on Laan van Meerdervoort. Her husband, who wanted to concentrate on seascapes, later hired a studio room facing the sea at the Villa Elba in Scheveningen where he and Sientje would spend hours painting and sketching. -
Vincent Van Gogh Groot-Zundert 1853 – 1890 Auvers-Sur-Oise
Vincent Van GoGh Groot-Zundert 1853 – 1890 Auvers-sur-Oise Head of a Peasant Woman: Right Profile. Circa 1884/85 Auction 4 June 2015 · 5 p.m. · Lot 6 Towards “The Potato Eaters” On the importance of the Brabant portraits in Vincent van Gogh’s Œuvre The head portraits of peasant men and women, captured the workers. Van Gogh’s brother, Theo, a successful art by Vincent van Gogh in drawings and paintings between dealer living in Paris, finally reminded the four-year-older 1884 and 1885 in the Province of Brabant in the Southern of his earlier passion for drawing. Following his advice, Van Netherlands, represent the Dutchman before the peak of Gogh decided to, from now on, make a living as an artist his creative production. The self-contained work group and, after two months of painting in the Dutch province documents a decisive moment in Van Gogh’s path from a of Drenthe, lastly returned to his parents’ house in Nuenen self-taught artist, who was influenced by the work of the in Brabant in December of 1883. “Hague School,” towards an autonomous artist, who was to significantly shape the future of art history through his In Drenthe Van Gogh had begun work on a series of own work. In the peasant portraits Van Gogh set to paintings depicting weavers working the large looms and prepare his first important work– the famous “Potato women spinning with wheels. Similar to the landscapes Eaters” of 1885, a summarization of the artistic ideas of Van Gogh painted at that time there were no signs at all the then 32-year-old (Fig. -
Van Gogh Lecture Jaap Van Duijn
Vincent and his changing image of God Lecture by Jaap van Duijn, 2019 We will look into the different phases in the life of Vincent van Gogh. His religious experience and his image of God in addition to the artistic development of Vincent van Gogh's work. Sometimes they go together with his change of residence. Emo Verkerk, Vincent and his mother • That Van Gogh still inspires people needs no explanation. For example, look at the painting that modern portrait painter Emo Verkerk made in honor of Van Gogh's 125th year of death. So 2015. The painting is part of a series of Van Gogh portraits and depicts the strictly Reformed mother Anna and Vincent as an art dealer in London (based on one of the few photos known by Vincent). It shows well the relationship between Vincent and his mother. • Vincent's enormous drive and passion for painting is known. Many people, including myself, have traveled all places where Vincent lived and worked out of fascination for the artist. The website vangoghroute.nl was created from this. All places of residence are described on this website. The development was done by Stichting Gifted Art By Judith de Bruijn, art historian. 1 2 Van Gogh family The family: father Theo van Gogh the pastor and mother Anna Carbentus. The children: Vincent, Anna, Theo, Lies, Wil and Cor Vincent's birth certificate First of all, a look at his childhood: • Vincent is born on March 30, 1853. • He lives with his family in the rectory on the Markt in Zundert. -
PDF Van Tekst
Onze Kunst. Jaargang 17 bron Onze Kunst. Jaargang 17. L.J. Veen, Amsterdam 1918 Zie voor verantwoording: https://www.dbnl.org/tekst/_onz021191801_01/colofon.php Let op: werken die korter dan 140 jaar geleden verschenen zijn, kunnen auteursrechtelijk beschermd zijn. 1 [Deel XXXIII] Jules de Bruycker Teekenaar en etser HET gereedschap van den teekenaar weegt niet zwaarder dan dat van den minnezanger. Een teekenplank, inkt, pennen, veel meer heeft hij niet noodig. Wanneer hij tevens graveur is, zooals Jules de Bruycker, heeft hij luttel méér mee te voeren. Waar hij stil houdt, kan zijn zang van zwarte lijnen dadelijk op het blanke papier ontstaan. Hij is als de ketellapper, die zich op den hoek eener straat nederzet. Wat weegt hij weinig in het zware leven! De liefde tot zijn ambacht vervult hem zoozeer, dat het hem onverschillig is, of hij in een paleis of op een zolder woont. Want er leeft evenveel passie in dengene die etst of hout snijdt, als in den fresco-schilder. Die kunst leeft heelemaal mee met den geest en de stemming van een mensch. Het is een handwerk, dat den eenvoudigen werker niet onderscheidt van den meest primitieven ambachtsman. Gemakkelijker nog dan de schilders, konden teekenaars en plaatsnijders dus den weg der ballingschap uitgaan. Zij behoefden slechts een tafel, bij het licht van een raam. Zij, die ooit met vreugde handwerk hebben verricht, beseffen hoe het graveeren vele zorgen kan doen vergeten. Welke macht zou hen van hun venster kunnen wegrukken? En wat zouden ze met meer eer en overtuiging kunnen voortbrengen, dan hunne prenten? Overigens leven plaatsnijder en teekenaar niet in het werkelijke leven.