Amsterdamse Joffers

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Thérèse Schwartze: Three girls from the Amsterdam orphanage, (1885 - Rijksmuseum in Amsterdam).

The Amsterdamse Joffers were a group of Dutch artists from the late 19th and early 20th centuries around August Allebé and Thérèse Schwartze . In terms of the chosen genre and palette, they can be assigned to Amsterdam Impressionism .

history

Thérèse Schwartze - Young Italian woman with her dog Puck (after 1879 - Rijksmuseum in Amsterdam).

Towards the end of the 19th century and the beginning of the 20th century, a group of young women came together in Amsterdam with the aim of pursuing painting as a form of art. They came from well-to-do families and were therefore not forced to struggle for a living. Almost all of them had attended the Rijksakademie Amsterdam. An exception to this was Sue Robertson , who had attended the Political Science School in Delft and had received private drawing lessons. Lizzy Ansingh had taken private lessons from August Allebé , Nicolaas van der Waay and Carel Dake. Nelly Bodenheim became an illustrator and was no longer a painter in the sense of this art movement. Coba Ritsema first received lessons at the Haarlem School of Art and at the Rijksakademie van beeldende kunsten Amsterdam - there she was in a women's group. Here she was u. a. Taught by August Allebé, Nicolaas van der Waay and Carel Dake, and in addition, she received further instruction from Thérèse Schwartze, Jacob Ritsema (her brother), Carel Lodewijk Dake, Georg Hendrik Breitner and Fredik Theodorus Grabjin. Later she passed on her knowledge and taught a.o. a. Coba Suri, Jan van den Hengst, Tine Honig, Victoire Winix and Lize Duyvis.

This group came together to form a circle that usually met weekly at Thérèse Schwartze's. The subject was the exchange of experiences from her work as an artist.

Sue Robertson, Jacoba Surie, Johanna Elisabeth Westendorp-Osieck and Coba Ritsema were members of Arti et Amicitiae and Pulchri Studio .

In 1912 this movement was given the name Amsterdamse Joffers by the art critic Albert Plasschaet , who first appeared in a newspaper article.

Awards and exhibitions

Coba Ritsema won the bronze medal at the international exhibition in Brussels in 1910, in 1912 and 1923 she won the silver medal of the city of Amsterdam, and in 1918 she was awarded the royal medal by Queen Wilhelmina.

Lizzy Ansingh won the Willink van Collenprijs of the Arti et Amicitiae in Amsterdam in 1906 and Elsa van Doesenburg in 1910 .

Style and work

In terms of art history, the Amsterdamse Joffers are among the impressionists and are assigned to the era of Dutch late impressionism. They had largely cultivated the pictorial genre of still life , interiors and portrait art and, to a lesser extent, took up genre painting .

The Amsterdamse Joffers and International Impressionism

Suze Robertson: The Card Reader (1883 - Breda Museum, Breda).
Marie Bracquemond (1887): Under the lamp - Alfred Sisley and his wife dining with the Bracquemond couple in Sèvres, private property.

If you look to France, the country of origin of Impressionism, four artists stand out. These are Marie Bracquemond (1840–1916), Mary Cassatt (1845–1926), Eva Gonzalès (1847–1893) and Berthe Morisot (1841–1895). In terms of art history, they are at the core of the French movement. The powerful, light-flooded color palette with the lively motifs is characteristic of her pictures. This is rounded off with the lighting typical of impressionism.

If you compare these four female painters with the female trend of Dutch Impressionism , you will notice several things. The Dutch women lived later, so they can only have taken the work of the French women as a model. The Dutch color palette corresponds more to the severity of the gray period of the 1st or somewhat more lively palette of the 2nd generation of the Hague School . Here the calm and melancholy that emanates from the darker colors is retained.

The French women had adopted the genre, landscape painting (coast, harbor and landscape with city views) and portrait for the genre. The Dutch women, on the other hand, choose almost only the still life and the portrait. The still life of the French women is characterized by a lightness. The Dutch women are not the same, there is more of a dark, burdensome melancholy in the painting.

These paintings in an international comparison - here with France - are at the same time the best example of the country-typical unique mentality of the countries, which is ultimately reflected in this new, revolutionary art movement.

Exhibitions

  • 1903 Stedelijke internationale tentoonstelling van kunstwerken van levende meesters, Stedelijk Museum, Amsterdam.
  • 1905 Thérèse Schwartze represented in the exhibition of works of art from Wiesbaden and private property in Biebrich
  • 1905 Lizzy Ansingh, Jacoba Ritsema and Marie van Regteren Altena in the collection of "Arti et Amicitiae" and "Pulchri Studio" - art association in Hamburg
  • 1907 Stedelijke internationale tentoonstelling van kunstwerken van levende meesters, Stedelijk Museum, Amsterdam.
  • 1912 Stedelijke internationale tentoonstelling van kunstwerken van levende meesters, Stedelijk Museum, Amsterdam.
  • 1913 Exhibition Women 1813–1913 - Stedelijk Museum Amsterdam
  • 1955 Suze Robertson - Rijksmuseum in Amsterdam
  • 1984 Suze Robertson - Stedelijk Museum in Amsterdam
  • 1991 Lizzy Ansingh in a group exhibition in Amsterdam
  • 1991 Nelly Bodenheim - Amsterdam Historical Museum
  • 2003/2004 Suze Robertson - Museum Rijswijk
  • 2005/2006 Lizzy Ansingh - Museum in Arnhem
  • 2008/2009 Suze Robertson - Museum Kempenland
  • Permanent exhibition of the Amsterdamse Joffers in the Rijksmuseum in Amsterdam

Members

Suze Robertson: Farmer's wife peeling potatoes (before 1922 - Rijksmuseum in Amsterdam).

Other loose members were:

  • Elsa van Doesenburg (1875–1957)
  • Josepha Johanna Julia Marie Tepe (1884–1962)
  • Marie Waldscheer (1855–1936)

Selected paintings

Suze Robertson: Still life with a pewter plate and bottle (before 1922 - Rijksmuseum in Amsterdam).
  • Lizzy Ansingh: The Source of Life, 124.5 × 174 cm in oil
  • Ans van den Berg: White and red azaleas, 76 × 65 cm in oil
  • Jacobe Surie: Fish, 50 × 70.2 cm, oil on canvas
  • Betsy Westendorp: Still life with glass paint pots, 25.0 × 19.4 cm, oil on canvas
  • Jo Bauer-Stumpf: Still Life - Anemones, 56.9 × 48 cm, oil on canvas
  • Coba Ritsema: Girls in the Studio, 32.4 × 46.5 cm, oil on canvas
  • Johanna Elisabeth Westendorp-Osieck: Still life with cancer, 23.6 × 24.5 cm, oil on canvas
  • Marie van Regteren Altena: studio with naked model, 51.2 × 76.8 cm, oil on canvas
  • Ans van den Berg: Still life with chrysanthemums, 40.8 × 76.8 cm, oil
  • Nelly Bodenheim: illustration of hand posters,
  • Suze Bisschop-Robertson: Sleeping girl in the sun, oil
  • Thérèse Schwartze: Portrait of Lizzy Ansingh, 40.4 × 49.4 cm, oil

Museums with works by the Amsterdamse Joffers

Thérèse Schwartze: Young Lutheran Believers. (1894 - Stedelijk Museum, Amsterdam).
  • Musee du Jeu de Paume, Paris
  • Dordrechts Museum, Dordrecht
  • Gemeentmuseum, The Hague
  • Boijmans Museum, Rotterdam
  • Rijksmuseum, Amsterdam
  • Stedelijk Museum, Amsterdam
  • Van Abbemuseum, Eindhoven
  • Central Museum, Utrecht

Selected sources

  • Betsy Westendorp-Osieck, 1880-1940. tentoonstellingscatalogus, Stedelijk Museum, Amsterdam 1941.
  • Johan H. van Eikeren: De Amsterdamse Joffers: Marie E. van Regteren Altena, Ans van den Berg, Jo Bauer-Stumpff, Nelly Bodenheim, Lizzy Ansingh, Coba Ritsema, Coba Surie, Betsi Westendorp-Osieck. FG Kroonder, 1947.
  • Gerritsen-Kloppenburg, Mieke en Henriëtte Coppes (1991): De kunst van het schutte bestaan: vijf schilderessen aan het begin van deze eeuw: Thérèse Schwartze, Betzy Rezora Berg, Jacoba van Heemskerck, Ans van den Berg, Betsy Osieck , Heerlen,
  • Ingrid Glorie: Juffers en Joffers: een eerbewijs aan vrouwen in de Schilderkunst. De Doelenpers, 2000, ISBN 90-70655-27-6 .
  • GH Marius: Dutch Art in the XIX Century. London., 1908.
  • Geurt Imanse: Van Gogh to Cobra: Dutch painting 1880–1950. Hatje, 1980, ISBN 3-7757-0160-5 .
  • KW Lim: Aziatische Kunst uit het legaat Westendorp. Amsterdam, 1968.
  • Ingrid Pfeiffer, Max Hollein: Impressionists. Hatje Cantz, 2008, ISBN 978-3-7757-2078-6 .
  • Adriaan Venema: De Amsterdamse Joffers. Baarn, 1977, ISBN 978-90-293-0749-9 .
  • Betsy Westendorp-Osieck: watercolors, tekeningen en pastels. 's-Gravenhage, 1951.

Web links

Commons : Amsterdamse Joffers  - Collection of images, videos and audio files

Individual evidence

  1. ↑ Here the Dutch tradition of Pulchri Studio is continued as part of the Hague School , the art inspection.
  2. ↑ The Willink van Collenprijs was specially intended for the young Dutch painters and was very much in demand. For this movement he was both a confirmation and a goal.
  3. ↑ This art association made it possible for the artists to bring the paintings closer to collectors and art dealers.
  4. ↑ The international Impressionist movement lasted until the 1930s. For the Netherlands, Jan van den Hengst is the best example that has remained true to the style of the Hague School.
  5. ↑ The advancements from the 1830 Movement, the Barbizon School , the influence of John Constable , Richard Parkes Bonington and William Turner in his late work and Johan Barthold Jongkind are not further appreciated here.
  6. ^ Archives Nassauischer Kunstverein, 2014/2015
  7. ↑ https://www.kunstverein.de/ From the exhibition directory of the Kunstverein in Hamburg zu Hamburg from 1858 to 2010