August Allebé

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Portrait (1896) by Heinrich Martin Krabbé
Picture by August Allebé by Johannes Luden , 1868, Teylers Museum , Haarlem

August Allebé (born April 10, 1838 in Amsterdam , † May 23, 1927 there ) was a Dutch artist and teacher.

August Allebé went through the styles of Romanticism to Realism and Impressionism in his career . At the same time he was a major initiator and promoter of Amsterdam Impressionism , the St. Lucas artists' association and the Amsterdamse Joffers movement . It was an essential factor in Amsterdam Impressionism - this is also referred to by art historians as the Allebé School and in Dutch Impressionism it was the countercurrent to the very strong Hague School .

His cosmopolitan attitude towards art as a dynamic, permanently changing trend and the encouragement and motivation of his students was of decisive importance for the then Rijksakademie in Amsterdam . This made it a place for a new generation of artists and inevitably became an integral part of the art movements of the early 20th century. Significant impulses for the modern and avant-garde movement emanated from here .

CV and years at the art academy

Art students at work. At that time the class size of the academies was about 8 people (here the ladies class of the Newlyn Art School, 1910).

At a young age he took evening courses with Felix Mertis and studied from 1854 at the Koninklijke Academie voor Beeldende Kunsten (Royal Academy of Fine Arts in Amsterdam) and from 1857 at the École des Beaux-Arts in Paris. During this time he was a student of Petrus Franciscus Greive , Adolphe Mouilleron , Carles Rochussen and Louis Royer .

In 1863, at the age of 25, he became a member of the Arti et Amicitiae society . In addition, he became a member of the Société royale belge des aquarellistes in the same year . After returning to Amsterdam, he later went on a study trip that took him from Leiden, Dongen, to Andernach am Rhein and, in 1868, to Brussels. It was there that, at the age of thirty-two, he was appointed professor at the Koninklijke Academie voor Beeldende Künsten in Amsterdam. In 1880 he became director of the same institution. He held this position until 1906. During his career he taught 179 students alone. Some of his students returned to his academy as teachers and now took over classes themselves, or they passed on their knowledge in private lessons, as did Jan Veth . In addition, he was a sponsor of the Amsterdamse Joffers , a then young movement of budding artists from his academy, which art-historically is attributed to Amsterdam Impressionism .

St. Lucas Art Association

Memorial stone of the old Sint-Lucas guild in Amsterdam.

In 1880, the St. Lucas student union in Amsterdam was founded with his assistance . Around 1886 it began to change into an artists' association. It was a meeting place for the Amsterdam art scene, especially panel painting. Here contacts were made, knowledge was passed on and thus a counterpoint to the quite successful Hague School was built. In addition, there were connections to the Amsterdam Sociëteit Arti et Amicitiae , which were essential for both institutions. This art association continues to this day and is an integral part of the Dutch art landscape.

Allebé as an artist in the mirror of time

Students at the Rijksacademie in Amsterdam around 1882/83.

In addition to his apprenticeship, Allebé was active in both panel painting and lithography. His stylistic change in his time as a painter is interesting, as he combined his skills as an artist, as a teacher and as a promoter of the new. His work began with the end of the Romantic era - the Dutch landscape painting of the 17th century by Van der Velde, Paulus Potter, Jacob van Ruisdael, and Meindest Hobbema as well as the Dutch Romantic painter by Hermanus van Brussel, Pieter, are likely to have been influenced here Geradus van Ost, Wijnadus Johannes Josephus Nuyen, Barend Cornelis Koekkoek and Johannes Weissenbruch as well as the upheaval emanating from Wijnand Nyen.

Then he turned to realism. The everyday living conditions as well as the world of the separate worlds of man and woman seen at that time were recorded. The Paris years of his training at the Academie des Beaux-Arts, where he came into direct contact with the École des 1930, the onset of realism, the movement of British watercolors and lithography , are particularly important . The turn to lithography as an art form was triggered by the collection of prints that was circulating in student circles at the time.

In his last creative phase he turned to impressionism . However, the impressionism he cultivated was not to be equated with the one in France by an Édouard Manet , Camille Pissarro , Claude Monet , Pierre Renoir , Alfred Sisley , Mary Cassatt , Jean-François Raffaëlli , Jean-Louis Forain and Frederico Zandomeneghi, but united as an essential character the cultural interaction with the identification of the social and societal tradition of the Netherlands. Above all, the brushwork typical of France, the light color palette and the open-air painting were seen through the eyes of a Dutchman, i.e. the feeling for the typically Dutch atmosphere from the interaction of constantly changing light conditions from sun, clouds, wind and water, carried by one's own Ease and melancholy. The upheaval triggered by Johan Barthold Jongkind and the Oosterbeeker School and the subsequent Hague School did not remain without influence on his creative path and teaching and ultimately on his students.

Completed by the technique of lithography, he was characterized by a wide range of artistic creativity, which made him ideal for his teaching activities and dealing with the stormy change in art from Romanticism to Impressionism as an international movement.

His work encompasses the genre of the genre, landscape painting with the new sub-genre of the city face, portraiture, animal pictures and is rounded off by still lifes - mainly flowers. However, it is not so extensive because the teaching activity and the additional obligations had put a lot of strain on him.

He is buried in the Zorgvlied cemetery in Amsterdam. The city of Amsterdam honored their son by naming a square after him.

Student Allebés

His successful students, some of whom were also to gain international fame and recognition beyond Holland, included for example

Exhibitions

  • Allebé, August 1838–1927, Teyler Museum, Dordrecht

In museum possession etc.

  • Historical Museum, Amsterdam,
  • Rijksmuseum , Amsterdam,
  • Stedelijk Museum , Amsterdam,
  • University of Amsterdam,
  • Dordrechtsmuseum, Dordrecht,
  • Rijksmuseum "Zuiderzeemuseum", Enkhuizen,
  • Teyler Museum, Haarlem,
  • Service Promise Rijkscollecties, The Hague,
  • Museum Mesdag, The Hague,
  • University of Leiden,
  • Rijksmuseum Kröller-Müller, Otterlo,
  • Stania State, Oenkerk,
  • Museum Boijmans Van Beuningen , Rotterdam and
  • Fogelsaugh State, Veonkloster.

literature

reference books

Other literature

  • Jan Knoef: Van romantiek tot realisme. Een bundel art historical opparts. Stols, 's-Gravenhage 1947, pp. 271-288.
  • Jan Knoef: Onbekende grafiek van A. Allebé. In: Oud Holland. 68, 1953, pp. 174-178.
  • A. Hoogendoorn: Een jeugdwerk by August Allebé. In: Oud Holland 69, 1954, pp. 58ff.
  • Wiepke Loos, Carel van Tuyll van Serooskerken (Ed.): Waarde heer Allebé. Leven en werk van August Allebé (1838-1927); [gelijknamige tentoonstelling in: Teylers Museum, Haarlem, 27 feb. dead on May 8, 1988; Dordrechts Museum, Dordrecht, 21 May dead en July 3, 1988; Drents Museum, Assen, July 16, dead en met 18 Sept. 1988]. Waanders, Zwolle 1988, ISBN 90-6630-124-4 .
  • AW Hammacher: Amsterdam Impressionists en hun Kring. JM Meulenhoff, Amsterdam 1946.
  • Georges Pillement: Les Pré-Impressionistes. Train 1972.
  • Ruth Berson: The new Painting: Impressionism 1874–1886. Documentation, 3 volume. Phaidon Press, Oxford 1989, ISBN 0-7148-2430-5 .
  • Norma Broude: Impressionism - an International Movement 1860-1920. Dumond Buchverlag, Cologne 1990, ISBN 3-8321-7454-0 .
  • John Sillevis, Hans Kraan, Roland Dorn: The Hague School, masterpieces of Dutch painting of the 19th century from Haags Gemeentemuseum. Exhibition cat. Kunsthalle Mannheim, Edition Braus, 1987, ISBN 3-925835-08-3 .
  • Ingrid Pfeifer, Max Hollein: Impressionists. Aust.-Cat. Kunsthalle Frankfurt, Hatje Crantz, 2008, ISBN 3-7757-2078-2 .
  • John House, Mary Anne Stevens: Post-Impresionism. Weidenfeld and Nicolson, London 1979, ISBN 0-297-77713-0 .
  • Hedwig Guratzsch: The great time of Dutch painting. Herder, 1979, ISBN 3-451-18218-1 .
  • Dr. d. Brax: Hollandes en vlaamse Schilderkunst in Zuid-Afríka. JH de Bussy Amsterdam 1952.
  • Wiepke Loos, Robert Jan te Rijdt, Marjan van Heteren: Dutch landscape painters: masterpieces of the 18th and 19th centuries. Exhibition cat. Belser Verlag, 1997, ISBN 3-7630-2353-4
  • Charles S. Moffett : The New Painting 1878–1886. Exhibition cat. Phaidon, Oxford 1986, ISBN 0-7148-2430-5
  • Bernhard Lorenceau: Johan Barthold Jongkind - 1819–1891. Brame Lorenceau, Paris 1996, ISBN 2-9510156-0-7
  • Johan H. van Eikeren: De Amsterdamse joffers: Maria E. van Regteren Altena, Ans van den Berg, Jo Bauer-Stumpff, Nelly Bodenheim, Lizzy Ansingh, Coba Ritsema, Coba Surie, Betsie Westendorp-Osieck. 1947.
  • Ingrid Glorie: Juffers en Joffers: een eerbewijs aan vrouwen in de schilderkunst. De Doelenpers, 2000, ISBN 90-70655-27-6 .
  • Christopher Wright: Paintings in Dutch Museums. Philip Wilson Publishers Ltd., London 1980, ISBN 0-85667-077-4 .

Web links

Commons : August Allebé  - collection of images, videos and audio files

Individual evidence

  1. ↑ Impressionism as an international movement lasted from around 1860–1920.
  2. ↑ Here, modern art is understood as an umbrella term for an era that breaks down into many time-limited and self-contained epochs. Its end is seen in the postmodern art movement . This includes Expressionism , Post-Expressionism , Dutch Constructivism , Cubism , Pointillism , Neo-Plasticism and De Stijl .
  3. ↑ At that time Antwerp enjoyed a high reputation in art education.
  4. ↑ Since the time of Napoleon, art in Europe has been directed by the respective state leadership and thus initially had a strongly inhibiting influence on the further development of art.
  5. ↑ He was one of the co-founders of the Soziëtat Arti et Amicitiae .
  6. ↑ This society, as it was called at the time, was the artistic and social center in Amsterdam.
  7. ↑ These two memberships show part of his artistic spectrum.
  8. ↑ In addition to Paris, the Académie royale des Beaux-Arts de Bruxelles and its surroundings were an important starting point for the artists from the Kingdom of the Netherlands for their artistic training.
  9. ↑ These were both men and women. He was a supporter of state-sponsored art studies for women. At the end of the 19th century, women artists also flocked to the art academies. At the academy in Amsterdam this opening was only made possible by his efforts and also bore significant fruit. With the trigger, it was the French impressionists Mary Cassatt (the American Mary Cassatt was promoted by the French impressionist Edgar Degas), Marie Bracquemond and Berthe Morisot , who saw painting as a vocation and discovered their own style and thus this Métier for future Generations of women had opened.
  10. ↑ Back then, an art class consisted of only four to a maximum of eight students.
  11. ↑ Jan Veth was an associate professor for art history and aesthetics.
  12. ↑ The last member of this movement, Jacoba Surie , died on February 5, 1970, and thus ended this unique movement in the Netherlands.
  13. ↑ The patron saint of painters is St. Luke, after whom this artists' association was named. The St. Lucas art guilds were founded in the lowlands in the 16th century. The starting point was the Reformation movement of 1579 and the shaking off of the Catholic state power in Spain. In 1610/11 they were u. a. founded in Haarlem, Gouda, Delft, Rotterdam and The Hague, which can be traced back to the 1st Golden Age of painting in the Netherlands. The last of its kind existed in Antwerp until 1795.
  14. ↑ The annual art exhibitions are best known.
  15. ↑ Here the main influences of the time came from Eugène Isabey, John Constable and Richard Parkes Bonington .
  16. ↑ The Düsseldorf School of Painting also had a great attraction for young artists. At that time, the Düsseldorf Academy had a high reputation in Europe for the landscape painting that was cultivated here.
  17. ↑ Gustave Caillebotte , Edgar Degas and Berthe Morisot were the most important representatives of this young style at the time. She thematized familiar depictions of women in everyday life.
  18. ↑ Linda Nochlin: Morisot's Wet Nurse: The Construction of Work and Leisure in Impressionist Painting , in Linda Nochlin: Women Art and Power, and other essays . New York, pp. 40-44; Berthe Morisot: Impressionist , exhib.-cat. National Gallery of Art, ed. v. Charles F. Stuckey, William P. Scott and Suzanne Lindsay, Washington DC 1987
  19. ↑ This was a major impetus for Amsterdam Impressionism.
  20. ↑ This movement was also called École des Naturalistes and was only later given the more appropriate name École des Barbizon by the Englishman David Thomson .
  21. ↑ Lithography, also known as stone printing, was quite popular with both artists and art lovers at the time.
  22. ↑ The planographic printing plate used here was made of limestone slate.
  23. ↑ Old prints by masters such as Willem van de Velde, Rembrandt van Rijn , Adriaen van Ostade , Jacob Isaackszoon van Ruisdael and Meindest Hobbema were in great demand among the young artists from estates and auctions as well as at the stalls of the “bouquinistes” on the Seine .
  24. ↑ The Baron Isidore de Taylor set up a very successful developing project called " Voyages pittoresques et romantiques dans l'ancienne France ". The subject was the representation of Gothic ruins, wild landscapes and historical monuments as a lithograph . This French-British joint project was expanded to include text. At that time, Bonington played a decisive role in this work in the initial phase. This series or portfolios appeared for the first time in 1820 and were primarily intended for academy students who wanted to deal with the genre of landscape painting. This quite successful series ran until 1878.
  25. ↑ Plein-air technology
  26. ↑ On the metaphysical dimension in Dutch landscape painting of the 17th century, see. RH Fuchs, in Dutch Painting, London 1978, p. 134.
  27. ↑ A good example of this is the oeuvre of the painter Jan Hillebrand Wijsmüller, a pupil of Allebé, who belongs to the second generation of the Hague School in terms of art history. He also cultivated the style of landscape painting of the Hague artist colony. This encompasses both the fundamental character of Dutch Impressionism, in which he concentrates on light, air and landscape from the perspective of a Dutchman, as in a polder landscape with Fischer , and the bright tonal contrasts of Camille Pissarro in the work Blooming Orchard , Louveciennes - 1872, which is reflected in his work Placing the Traps .
  28. ↑ The cityscape was not part of the repertoire of the Barbizon School and The Hague School . Rather, it was rediscovered by the Amsterdam Impressionist movement - Amsterdam Impressionism also spread to Rotterdam, which is reflected in the oeuvre of August Willem van Voorden (1881-1921).
  29. ↑ a b c He had received private lessons.
  30. ↑ His visit to the Academy was short-lived and from there he went to Paris.
  31. ↑ Later he became a professor and then director at the Rijksacademie.
  32. ↑ Art historians assume that he was a student of Allebé.
  33. ↑ In 1880 he was accepted as a master student in the St. Lucas Art Association.
  34. ↑ Later he returned to the Rijksacademie as a lecturer.
personal data
SURNAME Allebé, August
BRIEF DESCRIPTION Dutch artist and teacher
DATE OF BIRTH April 10, 1838
PLACE OF BIRTH Amsterdam
DATE OF DEATH May 23, 1927
Place of death Amsterdam