首页展会资讯艺术资讯“荷兰印象派大展”【三】:阿姆斯特丹印象派登场

“荷兰印象派大展”【三】:阿姆斯特丹印象派登场

来源: 聚展网2023-12-06 21:27:06 363分类: 艺术资讯
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《鹿特丹运河》,约翰·巴托尔德·戎金(Johan Barthold Jongkind,1819-1891),1873,藏于荷兰鹿特丹博物馆
Cited by Li Wanshan, a Chinese writer, the Dutch painter and printmaker Johan Barthold Jongkind (1819-1891), who was born in a town on the border of the Netherlands and Germany, contributed to impressionism not only in the Netherlands but also worldwide. In 1846, he moved to Paris, where he received positive reviews from critics such as Baudelaire and Zola just two years later. Jongkind won the gold medal at the "Paris Salon" in 1852, but his life was dramatic, marked by debt, alcoholism, and depression. In the 1860s, some of Jongkind's paintings began to exhibit impressionist characteristics, making him one of the most important precursors of impressionism. Young Monet was particularly admiring of his talent. The exhibition features Jongkind's "Rotterdam Canal," which is very "impressionistic" and unsurprisingly rejected by the Paris Salon. In 1874, the first impressionist exhibition invited Jongkind to exhibit this work, but he declined – this may seem strange, but it fits with Jongkind's character.
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《溜冰》,威廉·巴斯蒂安·索伦(Willem Bastiaan Tholen,1860-1931),1891,藏于荷兰海牙美术馆藏品
Born in Amsterdam, Willem Bastiaan Tholen depicted a historic theme in Dutch painting – the winter skating rink. Notice the foreground on the left, where three founding members of the Hague School are depicted: William Maris, Jacob Maris, and Joseph Israëls, who was considered the most respected Dutch artist of the second half of the 19th century.
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《在菜园中》,安东·莫夫(Anton Mauve,1828-1888),1887,藏于鹿特丹博伊曼斯·范伯宁恩博物馆
In the 1880s, Anton Mauve, recommended by Joseph Israëls, went to Laren, an Amsterdam suburb, to find new landscapes. Subsequently, a new group of artists followed Anton Mauve to settle there, forming the Laren School.
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《花园中的皮耶特尔斯夫人与辛格夫妇》,埃弗特·皮耶特尔斯(Evert Pieters,1856-1932),约1911-1915,藏于荷兰拉伦辛格博物馆藏品
Whether Anton Mauve's depiction of peasant cottages or Evert Pieters' portrayal of country villas, these were favored garden landscapes by the Dutch Impressionists. Born in Laren, Evert Pieters won the gold medal at the Paris Salon in 1896. Many of his works feature William and Anna Singer, a wealthy American art collecting couple who moved to Laren in 1911, collecting works from the Barbizon School, the Hague School, and the Laren School. The Singers left their mark on Laren with the Singer Museum, and many of the works on display at this exhibition were lent by the Singer Museum.
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《挖土豆的农妇》,文森特·梵高(Vincent Willem van Gogh,1853-1890),1885,藏于荷兰库勒-穆勒博物馆
The Singers initially learned about Laren through Anton Mauve, whose paintings made Laren famous, earning it the nickname "Mauve's land." Anton Mauve officially moved to Laren in 1885, and in April of that year, Van Gogh created "The Potato Eaters," and in August, "The Potato Digging Woman." In November, Van Gogh moved to Antwerp, Belgium, and then to Paris, France, in March of the following year, never returning to the Netherlands again.
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上图:《夜晚》(Vorabend),文森特·梵高,1885,藏于荷兰乌德勒支中央博物馆;下图*:《回家》(Turning homewards),约瑟夫·伊斯雷尔(Jozef Israëls,1824-1911),1860-1911,藏于荷兰国立博物馆
During his time studying under Anton Mauve, Van Gogh came into contact with many works of the Hague School, and his early paintings clearly show the influence of the Hague School, such as the atmospheric treatment of the background light in "The Night."
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《女帽店》,艾萨克·伊斯雷尔(Isaac Israels,1865-1934),1893,藏于荷兰格罗宁格博物馆
Joseph Israëls was one of the most respected painters of the Hague School, often compared to "the Dutch Millet." His son Isaac Israëls inherited his talent, showing artistic talent at an early age. At the age of 16, one of his unfinished works was purchased by Hendrik Mesdag before it was even completed. As a child, he often accompanied his father to the seaside for the summer, along with other companions including Édouard Manet and Max Liebermann, the "father of German Impressionism." During his studies at the Royal Academy of Art in The Hague in 1880, Isaac Israëls became lifelong friends with George Breitner.
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《水坝广场》,乔治·亨德里克·布莱特纳(George Hendrik Breitner,1857-1923),1898,藏于荷兰阿姆斯特丹市立博物馆
George Breitner and Joseph Israëls were the only two Dutch painters to use the impressionist "taches" (rough lines) style. After breaking away from the Hague School style, Breitner became known for depicting urban landscapes of Amsterdam in the late 19th century. His specialty was capturing the atmosphere of clouds and rain pressing down on the city, forming a unique weather term that even today, Amsterdam residents say, "It's another rotten Breitner day!"
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《王宫大街的桥》,乔治·亨德里克·布莱特纳(George Hendrik Breitner,1857-1923),1898,藏于荷兰国立博物馆
Breitner met Van Gogh in 1882, and they painted workers and maids together in The Hague. Depicting ordinary people, especially the lower classes, was the theme of Breitner's life. He even gave himself a French nickname, "People's Painter." However, the market for buyers didn't appreciate this, and after severe criticism, Breitner had to change the figure at the forefront of his masterpiece "Bridge on Paleisstraat" from a maid to a fashionable middle-class woman. Ironically, once the figure was changed, the unsold painting suddenly sold.
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《旋转木马》,威廉·德·兹瓦特(Willem de Zwart,1862-1931),私人收藏
Willem de Zwart was called the "Hague Breitner" because his brushwork was fluid and bold. Although he tended towards the Hague School in terms of subject choice, his style and use of color belonged to the Amsterdam Impressionists.

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