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Uva-DARE (Digital Academic Repository) UvA-DARE (Digital Academic Repository) 'Het karakter onzer Hollandsche school'. De Koninklijke Akademie van Beeldende Kunsten te Amsterdam, 1817-1870 Reynaerts, J.A.H. Publication date 2000 Link to publication Citation for published version (APA): Reynaerts, J. A. H. (2000). 'Het karakter onzer Hollandsche school'. De Koninklijke Akademie van Beeldende Kunsten te Amsterdam, 1817-1870. in eigen beheer. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:01 Oct 2021 Summary y 'Thee Character of our Dutch School' Thee Royal Academy of Visual Arts of Amsterdam (1817-1870) Introduction n Thee Royal Academy of Visual Arts of Amsterdam was established in 1817 in the recently foundedd United Kingdom of the Netherlands. Its aim was to rekindle the flame of the national schooll of Dutch painting - an agenda involving several presuppositions. Firstly, that there was suchh a thing as national feeling; secondly, that it could be expressed in art; thirdly, that this nationall feeling was experienced by Dutch artists; and lastly, that a new art academy would providee the best opportunities to regenerate the faded glory of Dutch art. Furthermore, the foundationn of the Royal Academy was part of a larger governmental reorganisation of the art educationall system, which suggests that during the reign of King William I there was some kindd of cultural policy. Thiss study concerns the above-mentioned presuppositions. I will concentrate mainly onn painting as taught at thee Academy, because this was the type of art in which the highest hopess for the future were invested. I will mention such other subjects as sculpture, engraving andd architecture only when relevant. Untill now there has been hardly any research on the Royal Academy of Amsterdam. Thiss is mainly because the reputation of the professors teaching there - the Pienemannen and KrusemannènKrusemannèn - started to dwindle in the middle of the nineteenth century, and because the Academyy itself produced few outstanding masters. In addition, the reputed conservatism of nineteenth-centuryy academies in general meant there has been a lack of interest in the history off the Royal Academy. However, now that art history has widened its field to include a more contextuall approach (such as the infrastructure of the art world), a study of the first national artt academy in the Netherlands is called for. Thee name of the Academy itself provides two starting points for my enquiry. Firstly, it iss an academy, an institution belonging to the long history of academicism and as such foundedd on academic doctrine. This doctrine assumes that art can be taught and should strive too achieve utmost perfection, such as that once attained in classical sculpture, and in the art of thee masters of the Italian Renaissance and such seventeenth-century masters as Nicolas Poussin.. According to this theory, history painting is the highest form of painting, the human beingg is its foremost subject and invention is the greatest quality an artist must cultivate. The academicc artist must therefore be an intellectual - kpictor doctus. Secondly,, the Royal Academy was a national institution. This status and the ensuing highh expectations inevitably led to the difficult definition of national art in nineteenth-century Holland.. The stylistic pluralism of the nineteenth century here as elsewhere resulted in uncertaintyy and never-ending debate. Heated discussions were held among the academicians themselves,, among the members of the Fourth Class of the Royal Dutch Institution (the fine artss department of the precursor to the Royal Academy of Sciences), on the artistic scene and, 297 7 finally,, in parliament. The participants used different criteria to define national art: one group consideredd Dutch landscape and genre painting as typically national, while others stressed historyy painting as the national art, even though it was usually regarded as 'foreign'. II Amsterdam or Antwerp? The Foundation of the Royal Academy (1806-1817) Inn the first chapter, the problem of national art will be considered in a political- and cultural- historicall context. Even before the actual founding of the Royal Academy in 1817 there had beenn initiatives to establish a national art academy, with a view to raising the level of the arts, whichh had declined in the eighteenth century. Concrete action had been taken during the reign off Louis Napoleon (1806-1810), but had been thwarted by a group of mainly Amsterdam artists,, who preferred a better position for their own Stadstekenakademie (City Drawing Academy)) rather than an umbrella organisation run by the State. Their resistance tallies with thatt of contemporaneous cultural societies and universities, which also preferred to be independentt rather than a state institution. Louis Napoleon's plans were put on hold because off his abdication in 1810. Later (in 1817), the new king William I incorporated them in a new governmentt system of Dutch art education. Onee of the most enterprising artists consulted by the Dutch government on this reform wass the Antwerp painter Matthijs van Bree, professor at that city's academy. He combined a predilectionn for the colourism of the Antwerp School with a convinced academicism, consideringg history painting the highest form of painting. In 1816 he devised a scheme in whichh Dutch art education was divided into three levels, with two Grandes Académies at the top.. One of these should be the academy of Antwerp. Its regulations would serve as the examplee for the other grand academy to be established in Amsterdam. Vann Bree's idea was almost completely adopted by the Government and was subjected too the opinion of the Amsterdam artists, who had been raised in the Dutch art tradition and whosee views on art were therefore diametrically opposed to those of Van Bree. However, they weree in a difficult position to object, because the founding of a Grande Académie was connectedd with the very important and not to be refused Prix de Rome. In the end, both Royal Academiess - as they were to be known - acquired an individual accent: the one in Antwerp wass to concentrate on history painting, and the one in Amsterdam would also teach landscape andd genre painting. The last stipulation was something new in the history of art academies. Thee reorganisation of the educational system obviously provided the Dutch governmentt - which at the time was faced with a new territorial state and a population with a strongg sense of locality - with one of the best opportunities to realise a national culture. This wass already the case with primary schools and Dutch universities. But it also applied to art education,, because since the later eighteenth century it had been believed that art has a civilisingg effect on a people as a whole, and was therefore considered a valuable asset in the processs of national unification. William I added utilitarian arguments to support the reorganisation:: at both lower levels of the new system - the so-called drawing schools and drawingg academies - craftsmen and drawing masters rather than artists would be trained, and 298 8 theyy would propagate good taste. Consequently, the arts and crafts would flourish and the desiredd industrialisation would develop faster. Thus,, the Royal Academy had to take care not only of the aesthetic education of the nation,, but also of the reputation of the Netherlands as a land of art-loving, art-producing people.. With this goal in mind and influenced by the patriotic movement, from the 1780s onwardss the eighteenth-century classicistic orientation gradually changed into orientation towardss seventeenth-century art. Painting from the seventeenth century became the example too follow for early nineteenth-century artists, though selectively: from the legacy of the Goldenn Age, mainly landscape and genre painting were considered sufficiently 'Dutch'. Consequently,, the representation of seventeenth-century art in nineteenth-century eyes was ratherr limited. Here, the principle of invention of tradition is vital. Thiss designed image of the art-historical past posed the Royal Academy its own problems.. As an institution, it was supposed to be equal to the great academies of Antwerp, Pariss and London. As a Dutch art school, however, its example was provided by seventeenth- centuryy Dutch painting genres, which were considered definitely non-academic in the rest of Europe. III History or Landscape? The Debate on National Art (1820-1840) Thiss dilemma soon surfaced at the beginning of the academic meetings in 1820. Members of thee Governing Board and the professors - who according to an old tradition were called directorss - did not agree on the course the new academy should follow. The Board members weree not artists but dilettantes, for example, the State Museum's director Cornelis Apostool andd the art lovers Jeronimo de Vries and Jacob de VosWz. These men came from a higher middle-classs background and were very often versed in the classics. However,, they too had their differences, just like the painters-directors, the painter Jan Willemm Pieneman being the most important. He had built a solid reputation for himself with battlee scenes from the Napoleonic wars, and was appointed first director.
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