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Dutch Romanticism: a Provincial Affair Author(S): Louis Van Tilborgh Source: Simiolus: Netherlands Quarterly for the History of Art, Vol

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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. Dutch spirits were also swept along ments in France, where contemporary art was being re- in this tide."3 Knoef identified the landscapist Nuyen as lated to the Romantic tendency in literature as early as the leader of a deliberately modernistic trend, saying the I82os. That relationship has recently been perceived that he was "undoubtedly the first Dutchman to give as problematical, but it was considered perfectly valid expression to Romanticism, and the one who did so in by art critics of the period.1 As one of them wrote on the most European manner" (fig. i).4 seeing the French Salon of I824: "Today... painters, Knoef backed his general thesis by pointing out that like writers, appear to have dispensed with all rules. art critics writing between I830 and I840 frequently Each of these gentlemen follows his own genius alone, used the word "Romantic" in connection with Dutch and each fancies himself infallible. Painting, in a word, art of the day. That, to him, was the proof positive that has become romantic, like poetry and prose."2 there really was such a tendency as Dutch Romanti- Many publications on Dutch nineteenth-century art cism.5 The value of his conclusion, however, is dubious, * This article is the result of a research project which I undertook for opstellen, The Hague 1947, pp. vii-viii: "Dan komt de volledige revo- my degree in a group of advanced students supervised by Peter Hecht lutioneering, die en de gedachtenwereld en de gemoedsgesteldheid en and Evert van Uitert. I am extremely grateful to them and to the other het gebruik der expressiemiddelen de grondigste wijziging doet on- members of the group for their suggestions and criticisms. The quota- dergaan en ook in ons land de geesten medesleept." See also idem, tion at the head of the article is taken from "Beoordeelend overzigt van Een eeuw Nederlandse schilderkunst, Amsterdam 1948, pp. 52-67; and de bekoorlijkheden van Amstels schoonen, die toegelaten zijn ter ge- idem, "De schilderkunst in Nederland voor I860," in H.E. van Gel- legenheid der jongste tentoonstelling met critische tusschenspelen," der et al. (ed.), Kunstgeschiedenis der Nederlanden, vol. Io, Zeist & De arke Noachs 2 (1828), p.258. Michael Hoyle translated the article Antwerp 1965, pp. 1887-91. from the Dutch. 4 Knoef, Een eeuw, cit. (note 3), p.6o: "...ongetwijfeld degene, in I For the problematical relationship in the specific case of Delacroix wie hier te lande de romantiek zich voor het eerst en het meest in see Peter Hecht's review of Sara Lichtenstein, Delacroix and Raphael, Europese termen geuit heeft." Knoef's views on Nuyen were adopted New York & London 1979, Simiolus 11 (980), pp. I86-95. The most by Fritz Novotny, Painting and sculpture in Europe 1780-i880, Har- useful survey of Romanticism in European painting is Hugh Honour, mondsworth 1960, p. I39. Romanticism, London 1979. 5 Knoef, Een eeuw, cit. (note 3), pp.53, 69. Writers who have re- 2 Lettres Champenoises i8 (1824), p.240: "Aujourd'hui... les pein- cently followed in Knoef's footsteps include Ronald de Leeuw, "Jo- tres, comme les litterateurs, semblent avoir secou6 toute regle; chacun hannes Tavenraat 1809-1881," exhib. cat. Johannes Tavenraat I809- de ces messieurs n'interroge plus que son genie, et se croit modeste- i88i, Cleves (Stadtisches Museum Haus Koekkoek) 1981, p. 8; John ment infaillible. La peinture, en un mot, est devenue romantique, Sillevis, "Wijnand Nuyen," exhib. cat. Wyjnand Nuyen I813-i839: comme la poesie et la prose." Quoted in Pontus Grate, Deux critiques Romantische werken, The Hague (Haags Gemeentemuseum) 1977, d'art de l'epoque romantique: Gustave Planche et Theophile Thore, p. 12; and idem, "Romantiek en Realisme," exhib. cat. De Haagse Stockholm 1959, pp. 31-32- School: Hollandse meesters van de Igde eeuw, The Hague (Haags Ge- 3 J. Knoef, Van Romantiek tot Realisme: een bundel kunsthistorische meentemuseum) 1983, p. 43. 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 I8o LOUIS VAN TILBORGH I Wijnand Nuyen, Old building by the waterside, I834. Private collection for the way in which that important believingword was that theused concept in played a key role in discus- the Netherlands did not correspond at allsions to of thenineteenth-century designa- art, for between I830 and tion of the new artistic concept as formulated I840 art critics in Germa- only used the word "Romantic" twelve ny at the beginning of the century.6 There times inthe connection word waswith contemporary Dutch paint- associated with art forms which deviated from Classicist ing.8 art theory, while Dutch critics used it solely as a term of Some critics of the period may have pinned the sug- mild abuse for works by colorists with a poor grasp of gestive label "Romantic" to the work of a few colorists, technique.7 Knoef was also well wide of the mark in but by and large there is nothing in nineteenth-century 6 The literary circles of the day were admittedly far from precise in the following reviews: Beoordeeling der schilder- en kunstwerken van nog their definition of the new artistic concept, but as R. Wellek, Concepts levende Nederlandsche meesters, welke aanwezig z'n op de tentoonstelling of criticism, New Haven & London I975, pp. I51-52, concluded in his te 'sGravenhage, 1833, The Hague [1833], (referred to below as Be- history of the term Romantic: "On the whole there was really no oordeeling 1833), pt. I, p.4 (twice); R., "Iets over de Stedelijke Ten- misunderstanding about the meaning of 'romanticism' as a new desig- toonstelling van Rotterdam," Algemeene Konst- en Letterbode 1832, pt. nation for poetry, opposed to the poetry of neo-classicism, and draw- 2, pp. 189, 203 (three times); A., "Gedachten over den tegenwoordi- ing its inspiration and models from the middle ages and the Renais- gen toestand der beeldende kunsten in ons vaderland, bij het zien der sance. The term is understood in this sense all over Europe." For Haagse Tentoonstelling van Kunstwerken in 1833," Algemeene Konst- Knoef's definition of Romanticism see Een eeuw, cit. (note 3), p. 53. en Letterbode I833, pt. 2, pp.299-300 and 301-02 (three times); R., 7 See pp. 184 and I85 below. "Beoordeelend overzigt der voornaamste kunstwerken op de tentoon- 8 Knoef, Een eeuw, cit. (note 3), p. 53. I have used the list of exhibi- stelling te 'sGravenhage in 1835," Algemeene Konst- en Letterbode tion reviews published by Eveline Koolhaas-Grosfeld and Annemiek I835, pt. 2, pp. 329 and 334 (three times); R., "De Tentoonstelling Ouwerkerk as "Bibliografie van vroeg negentiende eeuwse Nederland- van Kunstwerken te Rotterdam in 836," Algemeene Konst- en Letter- se kunstkritieken," Oud Holland 97 (I983), pp.98-III. The word bode 1836, pt. 2, p. 172 (once). "romantisch" was associated with contemporary Dutch painting in 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 Dutch Romanticism I8i art criticism to suggest that there was a Romantic move- manticism in an attempt to bolster the prestige of early ment in Dutch art. The differences with contemporary nineteenth-century painting. In doing so he set out to French and German art were evidently too great. For give the older generation of artists an international sta- instance, one critic writing in I839 in the well-informed tus which van Santen Kolff, the advocate of the Hague periodical De Beeldende Kunsten was worried that Dutch School, wished to deny them, and not without reason.10 artists might follow their literary brethren and succumb "When Victor Hugo wrote his Nbtre Dame de Paris," to the influence of foreign Romanticism, for "whenever Gram opened his speech for the defense, "De La Croix we view a collection of art works in this country which was painting his superb yet wild compositions.
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