De Haagse School
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Simonis & Buunk
2019 / 2020 Gekleurd Gekleurd Gekleurd grijs grijs SIMONIS & BUUNK SIMONIS & BUUNK EEN KEUR AAN KUNST cover Haagse School_2019_bs.indd 1 06-11-19 16:00 Gekleurd grijs Verkooptentoonstelling Haagse School zaterdag 30 november 2019 t/m zaterdag 4 januari 2020 Dinsdag t/m zaterdag van 11-17 uur en op afspraak open zondagen: 1, 15 en 29 december van 11-17 uur Een collectie schilderijen en aquarellen van de Haagse School. Voor prijzen en foto’s met lijst: simonisbuunk.nl SIMONIS & BUUNK EEN KEUR AAN KUNST 19e eeuw Notaris Fischerstraat 30 20e eeuw Notaris Fischerstraat 19 Fischerhuis Notaris Fischerstraat 27 Buiten exposities om geopend dinsdag t/m zaterdag 11-17 uur en op afspraak Notaris Fischerstraat 30, 6711 BD Ede +31 (0) 318 652888 [email protected] www.simonisbuunk.nl cover Haagse School_2019_bs.indd 2 06-11-19 16:00 Predicaat ‘meesterlijk’ Frank Buunk Als ik aan de Haagse School denk dan komt het jaar trouwe halfjaarlijkse bezoeken aan zijn goede vriend 1976 in mijn herinnering, toen ik voor het eerst over Scheen thuis kwam. de vloer kwam bij Rien Simonis als aanbidder van Kunsthandelaar Pieter Scheen, samensteller van de zijn oudste dochter Mariëtte. Al snel raakte ik ook ‘Rode Scheen’, was toen een begrip in kunstkringen. geboeid door de anekdotes uit de kunstwereld die In zijn kunsthandel aan de Zeestraat 50, recht mijn aanstaande schoonvader in geuren en kleuren tegenover het Panorama Mesdag, presenteerde hij kon vertellen. Pieter Scheen passeerde vaak de revue vanaf de jaren 50 schilderijen uit de Romantische in de sterke verhalen waarmee schoonvader na zijn School en de Haagse School. -
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. -
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. -
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. -
Landscape Painting Adding a Cultural Value to the Dutch Countryside Ernst J
Proceedings of the Fábos Conference on Landscape and Greenway Planning Volume 3 Issue 1 Proceedings of the Fabos Conference on Article 71 Landscape and Greenway Planning 2010 2010 Landscape painting adding a cultural value to the Dutch countryside Ernst J. Bos LEI Wageningen University and Research Centre, the Netherlands Follow this and additional works at: https://scholarworks.umass.edu/fabos Part of the Botany Commons, Environmental Design Commons, Geographic Information Sciences Commons, Horticulture Commons, Landscape Architecture Commons, Nature and Society Relations Commons, and the Urban, Community and Regional Planning Commons Recommended Citation Bos, Ernst J. (2010) "Landscape painting adding a cultural value to the Dutch countryside," Proceedings of the Fábos Conference on Landscape and Greenway Planning: Vol. 3 : Iss. 1 , Article 71. Available at: https://scholarworks.umass.edu/fabos/vol3/iss1/71 This Article is brought to you for free and open access by the Journals at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Proceedings of the Fábos Conference on Landscape and Greenway Planning by an authorized editor of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. Landscape painting adding a cultural value to the Dutch countryside Cover Page Footnote Many thanks to the following organisations who freely provided photos of paintings: The orD drechts museum Het Haags Gemeentemuseum Het Rijksmuseum Kunsthandel Polak Musée de Douai, Frankrijk This article is available in Proceedings of the Fábos Conference on Landscape and Greenway Planning: https://scholarworks.umass.edu/fabos/vol3/iss1/71 Bos: The Dutch countryside Gardens, Landscapes, History and Art Landscape painting adding a cultural value to the Dutch countryside Dr. -
Dutch Utopia: American Artists in Holland, 1880–1914
Fred Leeman exhibition review of Dutch Utopia: American Artists in Holland, 1880–1914 Nineteenth-Century Art Worldwide 10, no. 1 (Spring 2011) Citation: Fred Leeman, exhibition review of “Dutch Utopia: American Artists in Holland, 1880– 1914,” Nineteenth-Century Art Worldwide 10, no. 1 (Spring 2011), http://www.19thc- artworldwide.org/spring11/dutch-utopia-american-artists-in-holland. 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. Leeman: Dutch Utopia: American Artists in Holland, 1880–1914 Nineteenth-Century Art Worldwide 10, no. 1 (Spring 2011) Dutch Utopia: American Artists in Holland, 1880-1914 Telfair Museum of Art, Savannah, Georgia, October 1 2009–January 10, 2010 Taft Museum of Art, Cincinnati, February 5–May 2, 2010 Grand Rapids Art Museum, Grand Rapids, Michigan, May 21–August 15, 2010 Singer Museum, Laren, The Netherlands, September 16, 2010–January 16, 2011 Dutch Utopia. American Artists in Holland, 1880-1914. Edited by Annette Stott, with contributions by Holly Koons McCullough, Nina Lübbren, Emke Raassen-Kruimel and Kim Sajet. Savannah, Georgia: Telfair Books., 2009. 255 pp.; 9 b/w illustrations; 116 color illustrations; bibliography; index. English edition: $59.95 (cloth) ISBN: 9780933075115 Dutch edition: €29,50 (paperback) ISBN: 9789068685480 This winter, the Dutch public had the extraordinary opportunity to experience an unprecedented set of exhibitions dedicated to nineteenth century realist art. The Van Gogh Museum, Amsterdam housed the overwhelming Illusion of Reality exhibition, curated by Gabriel Weisberg, whereas a somewhat less ambitious exhibition was on view at the Singer Museum in Laren near Amsterdam: Dutch Utopia, American Artists in Holland 1880–1914. -
Dutch Romanticism: a Provincial Affair Author(S): Louis Van Tilborgh Source: Simiolus: Netherlands Quarterly for the History of Art, Vol
Dutch Romanticism: A Provincial Affair Author(s): Louis van Tilborgh Source: Simiolus: Netherlands Quarterly for the History of Art, Vol. 14, No. 3/4 (1984), pp. 179-188 Published by: Stichting Nederlandse Kunsthistorische Publicaties Stable URL: https://www.jstor.org/stable/3780576 Accessed: 13-05-2020 17:23 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms Stichting Nederlandse Kunsthistorische Publicaties is collaborating with JSTOR to digitize, preserve and extend access to Simiolus: Netherlands Quarterly for the History of Art This content downloaded from 31.30.175.15 on Wed, 13 May 2020 17:23:55 UTC All use subject to https://about.jstor.org/terms 179 Dutch Romanticism: a provincial affair* Louis van Tilborgh "Come, you feeble draftsmen, better your ways!" For well over a century the term Romanticism has been also refer to a Romantic period, frequently leaning on used in art-historical manuals to identify the nine- the authority of Knoef, who allocated the years I830- teenth-century movement which succeeded Neo-Clas- I840 to Dutch Romanticism. "Then comes that com- sicism and preceded Realism. The authors of these works plete upheaval which brings about the most profound base their description of the movement not only on change in the world of ideas, in mental attitudes, and in changes observed in German art, but also on develop- pictorial technique. -
QUARTERLY 2 No 43
NUMBER 43 1968 AUCKLAND CITY ART GALLERY QUARTERLY 2 No 43 COVER Petrus van der Velden, 1837-1913 Detail: Three figures in a landscape For complete picture, see page 5 CONTENTS Petrus van der Velden: the years in Holland pages 3-7 The Mesdag Museum & the Panorama Mesdag pages 7-9 AUCKLAND List of Acquisitions pages 10-11 The Auckland City Art Gallery Quarterly is published by the Art Gallery, CITY Parks and Library Division, Auckland City Council; and is concerned ART GALLERY primarily with presenting information about works of art acquired by the Auckland City Art Gallery. QUARTERLY Editor: Gordon H. Brown. NUMBER This year two distinguished art critics visited New Zealand. First was the American critic Clement Greenberg, and later, in Sep- tember, the Englishman Robert Melville delivered the Chancellor's Lectures at the Victoria University of Wellington. Melville also made a brier, private visit to Auckland. Because of the nature of 43 Greenberg's visit his presence had the greater impact on the public. 1968: EDITORIAL At the end of June and into July Greenberg travelled through the country stopping at each of the three main centres to deliver a public address. While some members of the public may have become impatient with him - for they felt that he avoided giving a direct answer to certain questions - Greenberg certainly stimu- lated a great deal of thinking that was not limited to what he had to say about the New York scene in particular and the international art movement in general, but extended also to matters which could be related to the local situation. -
Dutch and Flemish Art at the Utah Museum of Fine Arts A
DUTCH AND FLEMISH ART AT THE UTAH MUSEUM OF FINE ARTS A Guide to the Collection by Ursula M. Brinkmann Pimentel Copyright © Ursula Marie Brinkmann Pimentel 1993 All Rights Reserved Published by the Utah Museum of Fine Arts, University of Utah, Salt Lake City, UT 84112. This publication is made possible, in part, by a grant from the Salt Lake County Commission. Accredited by the CONTENTS Page Acknowledgments…………………………………………………………………………………………………..……...7 History of the Utah Museum of Fine Arts and its Dutch and Flemish Collection…………………………….…..……….8 Art of the Netherlands: Visual Images as Cultural Reflections…………………………………………………….....…17 Catalogue……………………………………………………………………………………………………………….…31 Explanation of Cataloguing Practices………………………………………………………………………………….…32 1 Unknown Artist (Flemish?), Bust Portrait of a Bearded Man…………………………………………………..34 2 Ambrosius Benson, Elegant Couples Dancing in a Landscape…………………………………………………38 3 Unknown Artist (Dutch?), Visiones Apocalypticae……………………………………………………………...42 4 Pieter Bruegel the Elder, Charity (Charitas) (1559), after a drawing; Plate no. 3 of The Seven Virtues, published by Hieronymous Cock……………………………………………………………45 5 Jan (or Johan) Wierix, Pieter Coecke van Aelst holding a Palette and Brushes, no. 16 from the Cock-Lampsonius Set, first edition (1572)…………………………………………………..…48 6 Jan (or Johan) Wierix, Jan van Amstel (Jan de Hollander), no. 11 from the Cock-Lampsonius Set, first edition (1572)………………………………………………………….……….51 7 Jan van der Straet, called Stradanus, Title Page from Equile. Ioannis Austriaci -
Proquest Dissertations
Ut pictura poesis: Edward Black Greenshields' Collection of Hague School Paintings Alena M. Buis A Thesis in The Department of Art History Presented in Partial Fulfilment of the Requirements For the Degree of Master of Arts (Art History) at Concordia University Montreal, Quebec, Canada August 2008 © Alena M. Buis, 2008 Library and Bibliotheque et 1*1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-45453-4 Our file Notre reference ISBN: 978-0-494-45453-4 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant a la Bibliotheque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par Plntemet, prefer, telecommunication or on the Internet, distribuer et vendre des theses partout dans loan, distribute and sell theses le monde, a des fins commerciales ou autres, worldwide, for commercial or non sur support microforme, papier, electronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in et des droits moraux qui protege cette these. this thesis. Neither the thesis Ni la these ni des extraits substantiels de nor substantial extracts from it celle-ci ne doivent etre imprimes ou autrement may be printed or otherwise reproduits sans son autorisation.