Contents Georg-W. Koitzsch Foreword and Acknowledgements 13 Ronald De Leeuw Foreword 17 Inge Bodesohn-Vogel Chronology Vincent V

Total Page:16

File Type:pdf, Size:1020Kb

Contents Georg-W. Koitzsch Foreword and Acknowledgements 13 Ronald De Leeuw Foreword 17 Inge Bodesohn-Vogel Chronology Vincent V Contents Georg-W. Koitzsch Foreword and Acknowledgements 13 Ronald de Leeuw Foreword 17 Inge Bodesohn-Vogel Chronology Vincent van Gogh 20 Fred Leeman Introduction 28 Roland Dorn Vincent van Gogh Biography 31 Correspondence 35 Van Gogh's Ideas 36 The Concept 37 The Craftsmanship 38 Walter Feilchenfeldt Vincent van Gogh - His Collectors and Dealers 39 Christian Lenz Julius Meier-Graefe and His Relation to Van Gogh 47 Andreas Meier Karl and Robert Walser's Early Interest in the Art of Van Gogh 60 Catalogue Notes for the Reader 66 Roland Dorn Vincent van Gogh 67 Nuenen 68 Paris 76 Aries 93 Saint-Rémy 141 Auvers 172 Roland Dorn The Artistic Reception of Vincent van Gogh's Work - Prologue 189 Claude Monet 192 Emile Bernard 193 Paul Gauguin 194 Armand Séguin 195 Roderic O'Conor 196 Robert Bevan 199 Louis Valtat 200 Charles Camoin 202 René Seyssaud 203 The Netherlands and Belgium Fred Leeman Van Gogh's Posthumous Rise to Fame in the Low Countries - Holland and Belgium 207 11 Jan Toorop 228 Johan Thorn Prikker 234 Henry van de Velde 238 Suze Robertson 243 Jan Sluyters 246 Leo Gestel 252 Kees van Dongen 255 Piet Mondrian 259 France Marcel Giry Van Gogh and the Fauves 267 André Derain 273 Robert Delaunay 280 Pierre-Albert Marquet 281 Maurice de Vlaminck 282 Emile-Othon Friesz 289 Raoul Dufy 293 Georges Braque 294 Isabelle Monod-Fontaine Henri Matisse 296 Pablo Picasso (H. F.) 305 Joan Miró (H. F.) 308 Chaïm Soutine 309 Germany Magdalena M. Moeller Van Gogh and Germany 312 Die >Brücke< 312 The Blue Rider 318 The Sonderbund 325 The Rhineland Expressionists 328 Christian Rohlfs 334 Paula Modersohn-Becker (H. F.) 341 Emil Nolde 344 Cuno Amiet 349 Erich Heckel 353 Ernst Ludwig Kirchner 358 Karl Schmidt-Rottluff 362 Max Pechstein 367 Max Beckmann (H. F.) 370 Edvard Munch 373 Alexej Jawlensky 377 Wassily Kandinsky 383 Gabriele Münter 387 Franz Marc 390 August Macke 394 Heinrich Nauen 396 Paul Klee 399 Wilhelm Morgner 402 Ludwig Meidner (H. F.) 405 Max Ernst 407 Otto Dix (H. F.) 408 Austria Almut Krapf-Weiler Van Gogh's Influence in Vienna 411 Marian Bisanz-Prakken Gustav Klimt 417 Egon Schiele 421 Almut Krapf-Weiler Oskar Kokoschka 426 Richard Gerstl 431 Photographs for the colour plates 435 12 .
Recommended publications
  • VU Research Portal
    VU Research Portal Willem van Konijnenburg Rijnders, M.L.J. 2007 document version Publisher's PDF, also known as Version of record Link to publication in VU Research Portal citation for published version (APA) Rijnders, M. L. J. (2007). Willem van Konijnenburg: Leonardo van de Lage Landen. General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. E-mail address: [email protected] Download date: 01. Oct. 2021 Summary Willem van Konijnenburg. The Leonardo of the Low Countries During the interbellum the Hague artist Willem van Konijnenburg (1868-1943) was one of the standard-bearers of Dutch modern art. After the Second World War, he disappeared from sight. Why? Closely related to this question are such issues as the nature of his art and his role as an artist, and the way they have been portrayed. What was Van Konijnenburg’s place in the Dutch art world, and was the position accorded him what he himself had hoped for? My research is intended to provide an answer to these questions.
    [Show full text]
  • Mehr Mode Rn E Fü R D As Le N Ba Ch Ha Us Die
    IHR LENBACHHAUS.DE KUNSTMUSEUM IN MÜNCHEN MEHR MEHR FÜR DAS MODERNE LENBACHHAUS LENBACHHAUS DIE NEUERWERBUNGEN IN DER SAMMLUNG BLAUER REITER 13 OKT 2020 BIS 7 FEB 2021 Die Neuerwerbungen in der Sammlung Blauer Reiter 13. Oktober 2020 bis 7. Februar 2021 MEHR MODERNE FÜR DAS LENBACHHAUS ie weltweit größte Sammlung zur Kunst des Blauen Reiter, die das Lenbachhaus sein Eigen nennen darf, verdankt das Museum in erster Linie der großzügigen Stiftung von Gabriele Münter. 1957 machte die einzigartige Schenkung anlässlich des 80. Geburtstags der D Künstlerin die Städtische Galerie zu einem Museum von Weltrang. Das herausragende Geschenk umfasste zahlreiche Werke von Wassily Kandinsky bis 1914, von Münter selbst sowie Arbeiten von Künstlerkolleg*innen aus dem erweiterten Kreis des Blauen Reiter. Es folgten bedeutende Ankäufe und Schen- kungen wie 1965 die ebenfalls außerordentlich großzügige Stiftung von Elly und Bernhard Koehler jun., dem Sohn des wichtigen Mäzens und Sammlers, mit Werken von Franz Marc und August Macke. Damit wurde das Lenbachhaus zum zentralen Ort der Erfor- schung und Vermittlung der Kunst des Blauen Reiter und nimmt diesen Auftrag seit über sechs Jahrzehnten insbesondere mit seiner August Macke Ausstellungstätigkeit wahr. Treibende Kraft Reiter ist keinesfalls abgeschlossen, ganz im KINDER AM BRUNNEN II, hinter dieser Entwicklung war Hans Konrad Gegenteil: Je weniger Leerstellen verbleiben, CHILDREN AT THE FOUNTAIN II Roethel, Direktor des Lenbachhauses von desto schwieriger gestaltet sich die Erwer- 1956 bis 1971. Nach seiner Amtszeit haben bungstätigkeit. In den vergangenen Jahren hat 1910 sich auch Armin Zweite und Helmut Friedel sich das Lenbachhaus bemüht, die Sammlung Öl auf Leinwand / oil on canvas 80,5 x 60 cm erfolgreich für die Erweiterung der Sammlung um diese besonderen, selten aufzufindenden FVL 43 engagiert.
    [Show full text]
  • Brussels, a Journey at the Heart of Art Nouveau Horta/Hankar/Van De Velde Summerschool / 8–19 June 2020
    Brussels, a Journey at the Heart of Art Nouveau Horta/Hankar/Van de Velde Façade Maison Autrique, Victor Horta © Marie-Françoise Plissart Horta © Marie-Françoise Victor Autrique, Maison Façade Summerschool / 8–19 June 2020 Brussels, a Journey at the Heart of Art Nouveau Horta/Hankar/Van de Velde Summerschool 8–19 June 2020 Victor Horta, Henry van de Velde and Paul Hankar are pioneers of Art Nouveau in Brussels and Europe. Brussels’ streets have dramatically changed under their influence and became the setting where their talent blossomed. The Faculty of Architecture La Cambre Horta at Université libre de Bruxelles invites you to dive into the heritage of these Architecture giants through academic lectures and exclusive site visits led by internationally renowned experts. From the beginnings of Art Nouveau to its peak, from the private mansion to the public school, from furniture to ornamentation, from destruction to preservation, you will undertake a journey at the heart of Art Nouveau and discover Brussels through a unique lens. Escalier Maison Autrique, Victor Horta © Marie-Françoise Plissart Horta © Marie-Françoise Victor Autrique, Maison Escalier Programme* The programme includes several exclusive 1. The beginnings of Art Nouveau visits in Brussels led by renowned experts. 2. The renewal of ornament (1861–1920): See our website for more details The examples of Victor Horta and Paul Hankar Target audience 3. Art Nouveau in Brussels and across Students and young professionals with a Europe background or profound interest in archi- 4. Victor Horta the Royal Museums of tecture, arts, history and urban renovation. Art and History: Reconstitution of the Magasins Wolfers and The Pavilion of Learning outcomes Human Passions Participants will be able to make the link 5.
    [Show full text]
  • Art Era Timeline 3 Early 20Th C – Modern
    1 Art Movement Timeline Early 20th C Centuryentury till the start of Modern Art Time Line Art Movement Description Artists & examples Late 19th/ Early 20th Century Design Britain, Late 19th Arts and Crafts The Arts and Crafts Century Movement was a celebration of individual design and craftsmanship, William Morris , a book designer, 18341834----18961896 spearheaded the William Morris movement. He also produced stained glass, textiles and wallpaper and was a painter and writer. © Nadene of http://practicalpages.wordpress.com 04/2010 2 Late 19th Century to Art Nouveau Art Nouveau is an Early 20th Century elegant decorative art style characterized by intricate patterns of curving lines. Its origins somewhat 18601860----19391939 rooted in the British Alphonse Mucha Arts and Crafts Movement of William Morris , 18721872----18981898 Aubrey Beardsley 18621862----19181918 Gustav Klimt Louis Comfort Tiffany . 18481848----19331933 © Nadene of http://practicalpages.wordpress.com 04/2010 3 1880's to 1920's The Golden Age of The Golden Age of European artists: Illustration Illustration was a period of unprecedented excellence in book and magazine 18451845----19151915 illustration. Walter Crane Advances in technology permitted accurate and inexpensive reproduction of art. The public demand for new graphic art grew in this time. Edmund Dulac 18821882----19531953 18721872----18981898 Aubrey Beardsley 18671867----19391939 Arthur Rackham 18861886----19571957 © Nadene of http://practicalpages.wordpress.com 04/2010 4 The Golden Age of Kay Nielsen . Illustration American artists: 18531853----19111911 Howard Pyle 18821882----19451945 N.C. Wyeth 18701870----19661966 Maxfield Parrish 18771877----19721972 Frank Schoonover 18521852----19111911 Edwin Austin Abbey . © Nadene of http://practicalpages.wordpress.com 04/2010 5 1920's to 1930's Art Deco Art Deco is an elegant style of decorative art, design and architecture which began as a Modernist reaction against the Art 18981898----19801980 Nouveau style.
    [Show full text]
  • Online Bekijken
    SIMONIS &BUUNK KUNSTHANDEL Wintersalon 2003 20e eeuw 1 Julius Müller-Massdorf Tearoom Tango Leendert ‘Leo’ Gestel Woerden 1881-1941 Hilversum Bloemstilleven met tijgerlelies, doek 33,3 x 25,3 cm, gesigneerd en te dateren 1912-1913. Herkomst: Douwe Komter, Amsterdam. Wordt opgenomen in de catalogue critique van het werk van de schilder, in voorbereiding door het Leo Gestel Comité. SIMONIS &BUUNK Klassiek-Modernen EEN KEUR AAN KUNST Neo-Impressionisten Bergense School Groninger Ploeg Nieuwe Realisten Wintersalon 2003 Abstracten 20e eeuw donderdag 20 november t/m zaterdag 6 december SIMONIS&BUUNK KUNSTHANDEL BV SIMONIS&BUUNK COLLECTIE BV SIMONIS&BUUNK COLLECTIE DE PLOEG CV RESTAURATIEATELIER J.M. SIMONIS – SINDS 1927 BEËDIGD TAXATEUR SCHILDERIJEN Een collectie schilderijen, aquarellen en tekeningen, voornamelijk uit de eerste helft van de 20e eeuw: klassiek-modernen, waar- onder neo-impressionisten, luministen, en vertegenwoordigers van expressionistische stromingen als Bergense School en Groninger Ploeg, nieuwe realisten en abstracten Voor prijzen: zie www.simonis-buunk.nl Openingstijden expositie: dinsdag t/m zaterdag van 11-17 uur zondag 23 november en zondag 30 november van 12-17 uur Gesloten op maandagen en tevens op 11 en 12, 18 en 19 november Notaris Fischerstraat 19, 6711 BB Ede telefoon: 0318 652888 fax: 0318 611130 Buiten exposities om geopend dinsdag t/m zaterdag van 11-17 uur en op afspraak www.simonis-buunk.nl [email protected] 3 Ter inleiding omgeving en het kantoor en de archiefruimte uit te breiden hebben we in korte tijd en met veel plezier kunnen verwezenlijken. Voor gelijkgestemde zielen is het gemakkelijk samenwerken, en eigenwijs als we zijn waren we bovendien onze eigen binnenhuis- architect.
    [Show full text]
  • Wyndham Lewis and Nihilism
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Groningen University of Groningen Theo van Doesburg and Wyndham Lewis Renders, Hans; van Faassen, Sjoerd Published in: The Journal of Wyndham Lewis Studies IMPORTANT NOTE: You are advised to consult the publisher's version (publisher's PDF) if you wish to cite from it. Please check the document version below. Document Version Publisher's PDF, also known as Version of record Publication date: 2018 Link to publication in University of Groningen/UMCG research database Citation for published version (APA): Renders, H., & van Faassen, S. (2018). Theo van Doesburg and Wyndham Lewis: An Aborted Attempt at Collaboration’. The Journal of Wyndham Lewis Studies, 8, 30-56. Copyright Other than for strictly personal use, 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), unless the work is under an open content license (like Creative Commons). Take-down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Downloaded from the University of Groningen/UMCG research database (Pure): http://www.rug.nl/research/portal. For technical reasons the number of authors shown on this cover page is limited to 10 maximum. Download date: 13-11-2019 The Journal of Wyndham Lewis Studies Wyndham Lewis Society Volume 8 (2017) ISSN 2052-5168 THE JOURNAL OF WYNDHAM LEWIS STUDIES PUBLISHED BY THE WYNDHAM LEWIS SOCIETY EDITORIAL ADDRESS The Journal of Wyndham Lewis Studies c/o Dr Nathan Waddell Department of English Literature, Arts Building University of Birmingham, Edgbaston Birmingham, B13 2TT EDITORS Zoe Gosling, Louise Kane, Michael Shallcross, Nathan Waddell REVIEWS EDITOR James Hirst EDITORIAL BOARD Rebecca Beasley, Peter Brooker, Peter Caracciolo, Edward Chaney, Paul Edwards, C.
    [Show full text]
  • Scarica La Lista in Formato
    Artinvest2000, i principali movimenti artistici. http://www.artinvest2000.com Dalla lettera A alla G ASTRATTISMO Astrattismo tendenza artistica del XX Secolo. Abbandonando la rappresentazione mimetica del mondo esterno, trova in generale le sue ragioni nella riflessione sulle specificità della ricerca formale e della percezione visiva. Parallelamente allo sviluppo di una speculazione estetica tra positivismo e spiritualismo (K. Fiedler, Origine dell'attività artistica, 1887; W. Worringer, Astrazione e empatia, 1908), molti artisti tendono alla rifondazione del proprio campo d'azione attraverso lo studio degli elementi formali che costituiscono le fondamenta sintattiche del linguaggio visivo, innescando un processo di sempre più radicale semplificazione e scomposizione delle forme. Una tendenza del genere, complicata dall'interesse per il meccanismo dei procedimenti percettivi, sposta progressivamente in secondo piano o elimina del tutto ogni preoccupazione rappresentativa. Sono soprattutto il "Sintetismo" e il decorativismo simbolista e la stilizzazione "Art nouveau" carica di suggestioni irrazionali e vitalistiche. ad alimentare il terreno culturale sul quale, attorno al 1910, si sviluppano diverse tendenze astratte nell'ambito dei movimenti d'avanguardia tedesco, russo, ceco e ungherese. Loro antecedenti immediati sono i due grandi movimenti innovatori dell'inizio del secolo, "Fauvisme" e "Cubismo". A questa duplice matrice formale si collegano i due modi principali dell'astrattismo, entrambi cresciuti nella ricerca di un ordine e di
    [Show full text]
  • Van Gogh Museum Journal 1995
    Van Gogh Museum Journal 1995 bron Van Gogh Museum Journal 1995. Waanders, Zwolle 1995 Zie voor verantwoording: http://www.dbnl.org/tekst/_van012199501_01/colofon.php © 2012 dbnl / Rijksmuseum Vincent Van Gogh 6 Director's Foreword The Van Gogh Museum shortly after its opening in 1973 For those of us who experienced the foundation of the Van Gogh Museum at first hand, it may come as a shock to discover that over 20 years have passed since Her Majesty Queen Juliana officially opened the Museum on 2 June 1973. For a younger generation, it is perhaps surprising to discover that the institution is in fact so young. Indeed, it is remarkable that in such a short period of time the Museum has been able to create its own specific niche in both the Dutch and international art worlds. This first issue of the Van Gogh Museum Journal marks the passage of the Rijksmuseum (National Museum) Vincent van Gogh to its new status as Stichting Van Gogh Museum (Foundation Van Gogh Museum). The publication is designed to both report on the Museum's activities and, more particularly, to be a motor and repository for the scholarship on the work of Van Gogh and aspects of the permanent collection in broader context. Besides articles on individual works or groups of objects from both the Van Gogh Museum's collection and the collection of the Museum Mesdag, the Journal will publish the acquisitions of the previous year. Scholars not only from the Museum but from all over the world are and will be invited to submit their contributions.
    [Show full text]
  • Gestel, Portrait of Jan Wiegman Seated on a Chair Woerden 1881 – 1941 Hilversum
    Leo Gestel, Portrait of Jan Wiegman seated on a Chair Woerden 1881 – 1941 Hilversum charcoal and crayon on paper 38 ¾ by 28 5/8 inches (985 by 727 mm.) signed and dated upper right: ‘Bergen 1921’ provenance: Private collection, Belgium exhibited: Museum Kranenburgh, Bergen, Gestel in Bergen, May 18 – October 6, 2002 note: Leo Gestel was one of the leading artists of Dutch Modernism. He first studied with his father, Willem Gestel, the director of an art school, and his uncle, Dimmen Gestel, who had painted with Vincent van Gogh. Later, the young artist was a pupil at the Amsterdam Academy. During his career Gestel experimented with Cubism, Expressionism, Futurism and Postimpressionism. His early work follows the style of the late 19th century, for example, the Postimpressionist Still Life with Fruit (fig.1). By 1913, he was painting simplified Cubist landscapes and figures such as Mallorca Harbour, 1914 (fig. 2). In the same year Herwarth Walden offered Gestel the chance to exhibit his work in the “Erster Deutscher Herbstsalon” in Berlin. Walden, a German Expressionist artist, was one of the most important promoters of German avant-garde art in the early twentieth century. By the 1920’s, Gestel’s subjects show the clear influence of Expressionism. As in the present work, his compositions are strongly stylized and tightly composed. Gestel’s Portrait of Jan Wiegman displays the aesthetics and spirit of contemporary European Expressionsim during the crisis years following World War I. The bold handling of line in charcoal and crayon and the subjects striking emotional form depict an essential reality and human personality hidden behind the world of surface appearance.
    [Show full text]
  • “Uproar!”: the Early Years of the London Group, 1913–28 Sarah Macdougall
    “Uproar!”: The early years of The London Group, 1913–28 Sarah MacDougall From its explosive arrival on the British art scene in 1913 as a radical alternative to the art establishment, the early history of The London Group was one of noisy dissent. Its controversial early years reflect the upheavals associated with the introduction of British modernism and the experimental work of many of its early members. Although its first two exhibitions have been seen with hindsight as ‘triumphs of collective action’,1 ironically, the Group’s very success in bringing together such disparate artistic factions as the English ‘Cubists’ and the Camden Town painters only underlined the fragility of their union – a union that was further threatened, even before the end of the first exhibition, by the early death of Camden Town Group President, Spencer Gore. Roger Fry observed at The London Group’s formation how ‘almost all artist groups’, were, ‘like the protozoa […] fissiparous and breed by division. They show their vitality by the frequency with which they split up’. While predicting it would last only two or three years, he also acknowledged how the Group had come ‘together for the needs of life of two quite separate organisms, which give each other mutual support in an unkindly world’.2 In its first five decades this mutual support was, in truth, short-lived, as ‘Uproar’ raged on many fronts both inside and outside the Group. These fronts included the hostile press reception of the ultra-modernists; the rivalry between the Group and contemporary artists’
    [Show full text]
  • The Centenary Open Installtion View, View, Installtion 2013 Is Now Over, and There Has Been a Record- Breaking Number of Entries This Year
    e The London Group s CENTENARY OPEN 2013 14 May-7 June 2013 a e l e , Peter Clossick , Peter r Across The Road In 1930 the roof garden of London’s famous department store Selfridges was given over to a London Group sculpture exhibition where prestigious members such as Henry Moore and Barbara Hepworth exhibited alongside the work of emerging artists. This is just one inclusive show in the s illustrious 100-year history of The London Group, the UK’s longest running artists’ collective. The London Group have a long tradition of supporting the work of emerging artists through their s flagship event, the biennial open. Historically, these shows were seen as exhibiting opportunities for visual makers who had been thought of as minority status artists: young art students, women artists and those making work without commercial gallery patronage. The golden age for the open submission came after the war. These exhibitions were huge. In the e November 1952 exhibition, 360 works came from open submission. Again in the 1980s the shows had very high status again with three large exhibitions at the Royal College of Art Gulbenkian Galleries. The 1990s Opens were held at the Concourse Gallery in the Barbican Centre with the Artsinform CoBiennialmmunicatio n1995s Ltd. Open Exhibition selected by five guest selectors, Robin Klassnik, Angela Flowers, r t. +44 (0)1273 488996 w. www.artsinJenniform.co .Lomax,uk Louisa Buck and William Ling. The last Open was held in 2011 and had a positive e. [email protected] on the careers of its winners as ever: Pipe Passage, 151b High Stret, Lewes, East Sussex, BN7 1XU Company No: 06392254 p “Winning the Arcadia Missa Prize was an honour and great surprise.
    [Show full text]
  • 092-095-Belgium-Brussels 1893.Cdr
    SHORT Marie Resseler ARTICLESB russels 1893, Belgium the Origins of an ART NOUVEAU Aesthetic Revolution. The year 1893 sees the official birth of Art apartment buildings. These houses are Nouveau in Brussels with the construction of characterized by a plan consisting of three two emblematic houses: the Hôtel Tassel built successive rooms and a stairwell placed along by Victor Horta and the private house of the the common wall. This plan restricts light and architect Paul Hankar. They are both located circulation and hinders creativity. The Art near the prestigious tree-lined avenue Louise Nouveau architects fought against this stan- in a trendy new area of the capital which has dardised architecture that didn't really evolve been known since then as the cradle of Art but was simply repeated over and over again. Nouveau. This new quarter attracts the wealthy Two young men were an exception among the bourgeoisie, who build their mansions in the future inhabitants of this new quarter near eclectic style which then dominated Brussels. avenue Louise: Emile Tassel, an engineer and The city is unique in being a capital where friend of Victor Horta, and the architect Paul people live in single-family houses instead of Hankar. wwww Eclecticism in Brussels: the Palace of Justice (architect Joseph Poelaert, 1863-1886) © KIK-IRPA, Brussels, negative E23517 92 Uncommon Culture Octave van Rysselberghe is a pioneer, a visionary architect who in 1882, more than ten years before the birth of Art Nouveau, had already built a house that was a break with the traditional styles, the Hôtel Goblet d'Alviella.
    [Show full text]