Hague School

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Hendrik Willem Mesdag: Preparations for Discarding (1909)

The term Hague School describes a group of Dutch painters who worked mainly between 1870 and 1920 and had their center in The Hague .

The group of artists is an important part of the international Impressionist movement and is considered to be independent in terms of art history. Influences of realism , the Barbizon school and French impressionism in connection with the Dutch mentality led to Dutch impressionism, which is also known in art history as the “2. Golden Age of Dutch Painting ”. In the vicinity of Pulchri Studio and the Academie van beeldende kunsten zu Den Haag , this art trend developed well in the vicinity of the old residential city, which also found international recognition. The Amsterdam Impressionism , also known as School of Allebé known, had developed from this. After all, it was here that essential impulses for post-impressionism and modernism came from.

Its creation

Johannes Warnardus Bilders (1866): Heathland near Wolfheze , Rijksmuseum Amsterdam

The development to the movement of the Hague School can be traced back to William Turner and the opening of the European continent after the end of the continental blockade. Two other names of English painters are important in this context. On the one hand there is the painter John Constable , who mainly used the oil painting technique. Then there is Richard Parkes Bonington an essential figure. In 1824 both won a gold medal at the Paris Salon. Her works are characterized by a detachment from the exact lines in favor of their soft focus or the gradual transition. In Paris a number of painters like Rousseau had contact with Bonington and the painting technique, which was radical for the time. Around 1830, the movement of 1830 broke away from neoclassicism . One went to Barbizon to pursue the landscape painting can. Nature was taken up as a motive and humans became an extra. The view of nature from Romanticism and the idealization of the rural population played an essential role.

In the Netherlands, Johannes Warnardus Bilders and Frederik Hendrik Hendriks went to the villages of Oosterbeek and Wolfheze, which have been untouched for centuries, and their rural surroundings. Around 1841 these two artist individuals began to thematize the subject of landscape and country life - the model was the 1st Golden Age of Dutch painting . The 1830 movement in Barbizon was taken as a model to follow this path in the Netherlands. Another painter, Jozef Israëls , had studied in Paris in the 1940s and came there a. a. with Millet and took him as a role model. In 1853 he met Johannes Warnardus Bilders and the chosen genre and palette were reoriented. The painters Anton Mauve , Paul Gabriel and Gerd Bilders also followed to Oosterbeek. This laid the foundation stone for the new Oosterbeek School painters' colony . It was to gain the reputation of the Barbizon of the North afterwards . This is all the more important because it was from here that Dutch impressionism began.

The name “Hague School” was coined in 1875 by the journalist J. van Santen Kolff. In De Banier magazine , he described it as a "new, ultra-radical movement". For van Santen Kolff, the special quality of the Hague painters lay in the specifically "Dutch" way of depicting landscapes:

“Can anyone other than a Dutchman see, understand and portray nature in this way, put such a treasure trove of poetry in the most blunt, simplest representation of the simplest reality? [...] This new way of seeing and representing is a true iconoclasm in the field of painting [...] Here we have the realism of the true, healthiest kind before us. "

- J. van Santen Kolff

style

The predominant painting style of the Hague School was Impressionism . The painters of the Hague School aimed above all at reproducing a certain atmosphere.

Despite the different subjects , the coloristic treatment, whose gray and brown values ​​disguise contours and give the pictures autumnal melancholy, was related. Conservative critics therefore questioned the aesthetic content of this realism and rejected the Hague School because of its “gray painting”. One of them wrote in an exhibition review in 1888: "There is a storm hanging there from Mesdag, when the sea looks terribly dirty and the clouds fly through the air like huge dumplings".

The painting of the Hague School came to results in the late 19th century that laid the foundations of modernism in the Netherlands, on which van Gogh and Mondrian later built. Thus, they are among the direct forerunners of Neo-Impressionism .

Düsseldorf School

Andreas Achenbach: Ebbe (Scheveningen), 1837, State Museum in Hanover

In those times there were contacts and study trips as well as a mutual transfer. In the art association for the Rhineland and Westphalia , German painters such as Rudolf Jordan , Carl Hilgers , Hermann Mevius , Carl Adloff and Andreas Achenbach showed their then romantic view of fishing life on the Dutch coast, especially the fishing town of Scheveningen .

Conversely, the reputation of the Düsseldorf School of Painting drew Dutch painters from the Hague School to the Rhine. In 1835 these were Johannes Bosboom and four years later Johannes Warnardus Bilders (1811–1890). At the beginning of his career, Jozef Israëls first went on a study trip to Düsseldorf. Even Richard Burnier , Julius van de Sande Bakhuyzen and Philip Sadée there. The Düsseldorf Art Academy was famous as a training center for its genre, landscape and history painting; The bright color application there is unmistakable.

pendant

Some artists such as Paul Gabriël , Willem Roelofs , Johan Hendrik Weissenbruch and the brothers Jacob , Matthijs and Willem Maris worked outdoors in the marshes near the places Nieuwkoop, Noorden and Kortenhoef and helped to paint the Dutch cultural landscape with pastures and grazing cows, marshes Canals and windmills.

Other artists also preferred the coast and painted on the beach. The fishing village of Scheveningen in particular became an important source of inspiration for artists such as Hendrik Willem Mesdag , Bernard Blommers , Anton Mauve and Philip Sadée .

The works of the Hague painters were by no means limited to landscape painting. Mesdag was particularly known for his depiction of arriving and departing fishing boats (so-called "bomschuiten"), a topic that Bernard Blommers, Anton Mauve and Jacob Maris also liked to deal with. Mesdag in particular had great international success with his depictions of the sea, making it the group's best-selling artist.

The fishing genre was also Jozef Israëls' favorite topic at first. Later Israëls came to a dreamy and emotional "interior realism" with depiction of small everyday joys and sorrows from the life of fishermen and farmers. In contrast to the others, however, he remained a typical studio painter who only made sketches outdoors.

A member of the group that was a bit out of line was Johannes Bosboom , who was born in The Hague and who mainly wrote architectural images, such as depicting church interiors.

The following artists are considered followers of the Hague School in their early days, but later pursued their own paths: George Hendrik Breitner , Isaac Israëls and Jan Toorop . (Compare with Amsterdam Impressionists .)

Many Dutch painters of the late 19th or early 20th century were inspired by the Hague School and painted in the same style. Some of them later turned away from the Hague style and went their own way. This group of painters is often referred to as the Late Hague School or the Second Generation of the Hague School . Some representatives were Dirk van Haaren , Jan Hillebrand Wijsmuller , Daniël Mühlhaus and Willem Weissenbruch as well as Jan Willem van Borselen .

Vincent van Gogh , among others, was influenced by the Hague School. He met the artists of the Hague School in The Hague and was introduced to the technique of watercolor and oil painting by his cousin Anton Mauve . Accordingly, his early works were dominated by the same earthy colors as those of his models Anton Mauve and Jozef Israëls.

One of the last representatives of the Hague School was Adrianus Zwart in his early work.

The collection of the Mesdag Museum in The Hague houses the most important collection of paintings in the Hague School. Mesdag himself founded the museum through his own foundation.

rating

The success story of this new realistic painting, which also builds on the knowledge of the painting technique of Rembrandt van Rijn, can be seen as the second golden age of Dutch painting . The Hague School, which later established itself, was assigned to the history of art with the appearance of Joseph Israëls, i.e. around 1860, when foreign countries first became aware of this trend. The picture of the mother's grave was acquired by the Rijksmuseum. His painting Drowning was already considered one of the most moving pictures in the exhibition in London during the World's Fair of 1862 . This movement was only appreciated eleven years later at the world exhibition in Vienna . It is noteworthy that the Hague School was always closed and had its own premises.

From the 1870s to the First World War, the Hague School was in great demand and demand in the Netherlands and abroad. Above all in Germany (among other things by Jan de Haas , who lived in Munich for a long time), the USA and Scotland one noticed them. They were present at almost all important exhibitions in Europe and the New World such as London, Vienna, Munich, Venice, New York, Boston, Washington DC and Montreal. Many wealthy Americans, including President William Howard Taft (1909–1913), added works from the Hague School to their collections.

After the First World War, the Hague School increasingly fell into the shadow of the movements of Neo-Impressionism and Modernism. In 1916, Marius Bauer dismissed the painters of the Hague School in a derogatory and disparaging manner as “painter of the trouser pits”. Her work is only kitsch, and with it the knowledge of the effect of this Hague School as a current of a variety of Impressionism and a pioneer of modernity undeservedly disappeared from the textbooks on art history.

It wasn't until fifty years later when Jos de Gruyter organized a major retrospective at the Gemeentemuseum. The reassessment was then carried out by John Sillevis , the curator of the museum of the same name, who organized a traveling exhibition in 1983, which was also well received abroad. Various publications were devoted to the subject by Sillevis and contributed significantly to the recognition and re-evaluation of the Hague School. The art historians Saskia de Bodt , Hans Janssen and Roland de Leeuw provided new insightful studies. The Rijksmuseum and the Van Gogh Museum subsequently acquired important works from the Hague School. The Hague Gemeentemuseum is still very effective today.

Today the Hague School is considered one of the first successful art movements in Holland since the 17th century. For the Netherlands it was the first manifestation of a system in which artists, apart from patronage, could determine their own path and could bring their works into circulation through the art trade.

“Although the waves are still breaking on the beach, after the Hague School there are no more artists who could reflect the Dutch landscape in all its facets. Light, air and water are the ingredients of this typical Dutch landscape, which the painters of the Hague School were able to reproduce in their mood with oil and watercolor painting. "

For example the introduction of the catalog for the exhibition on the Hague School, written by Renske Suyver from the Rijksmuseum Amsterdam .

List of the most important artists around the movement of the Hague School

Barend Cornelis Koekoek: Winter Landscape (1835–1838)
Johannes Bosboom: Beach near Scheveningen (1873 - Rijksmuseum)
Willem Roelofs: Polder Landscape with a Windmill (1870, Gemeentemuseum Den Haag)
Geesje van Calcar (undated): Chilled to the bone - privately owned
Johan Hendrik Weissenbruch: Beach Face (1895 - Rijksmuseum)

Pioneering:

First generation:

Second generation:

Exhibitions

  • 1863–1917 Tentoonstelling of artworks by van Levende Meesters, Hague School of Art, The Hague, Netherlands, group exhibitions at time intervals in which representatives of the Hague School had also participated.
  • 1904 Pulchri Studio, Kunstverein Hamburg, Hamburg, Germany.
  • 1969 Mondriaan and the Hague School of landscape painting, Norman McKenzie Art Gallery, Regina, Canada.
  • 1969 Mondriaan and the Hague School of landscape painting, Edmonton Art Gallery, Edmonton, Canada.
  • 1972 The Hague School: Dutch Painters 100 Years Ago, Rheinisches Landesmuseum Bonn, Germany.
  • 1972 Hamburger Kunsthalle: The Hague School: Dutch painters 100 years ago, Germany.
  • 1980 Mondriaan and The Hague School: Watercolors and drawings from the Gemeentemuseum, The Hague, Netherlands.
  • 1981 Verso l'astrattisma. Mondrian e la Scuola dell'Aia, Florence, Italy
  • 1982 Verso l'astrattisma. Mondrian e la Scuola dell'Aia, Milan, Italy
  • 1982 Mondrian et l'École de La Haye: aquarelles et dessins du Haags Gementemuseum, La Haye et d'une collection particuliere, Paris, France.
  • 1982 The Hague School and it's American Legacy, West Palm Beach, Florida, USA.
  • 1983 L'École de La Haye: Les maîtres hollandaise de 19ème siècle, Galeries nationals du Grand Palais, Paris, France.
  • 1983 The Hague School: Dutch masters of the 19th century, Royal Academy of Arts, London, England.
  • 1984 The Hague School: Collecting in Canada at the Turn of the century, Art Gallery of Ontario, Canada.
  • 1987 The Hague School: Masterpieces of Dutch painting of the 19th century from the Gemeentemuseum, Städtische Kunsthalle Mannheim, Mannheim, Germany.
  • 1989 The Hague School in Munich, Neue Pinakothek, Munich, Germany.
  • 1992 Dutch Drawings from the Age of van Gogh from the Collection of the Hague Gemeentemuseum, The Taft Museum of Art, Cincinnati, USA.
  • 1996 Van Gogh and the Hague School, Bank Austria Kunstforum, Vienna, Austria.
  • 1999 Jan Hendrik Weissenbruch (1824–1903): vorbij de Haagse School, Museum Jan Cunen, Oss, Netherlands.
  • 2001 Mesdag and the Hague School, Gemeentemuseum Den Haag, The Hague, Netherlands.
  • 2003 Jacob Maris: A retrospective of the work of a Dutch Impressionist, Teylers Museum, Haarlem, Netherlands.
  • 2003 Willem Witsen (1860–1923): Moods, Dordrechts Museum, Dordrecht, Netherlands.
  • 2004 De Haagse School and the young van Gogh, Stadhuis Brussel, Brussels, Belgium.
  • 2004 Jacob Maris, 1837–1899, Museum Jan Cunen, Oss, Netherlands.
  • 2004 The Hague School, Gemeentemuseum Den Haag, The Hague, The Netherlands.
  • 2005 Waiting for van Gogh: Dutch Painting from the 19th Century, Crocker Art Museum, Sacramento, USA.
  • 2007 Plain Air: The Hague School and the School of Barbizon, Gemeentemuseum Den Haag, The Hague, Netherlands.
  • 2006 Mesdag and The Hague School, Gemeentemuseum Den Haag, The Hague, Netherlands.
  • 2008 The Wide View: Landscapes of the Hague School from the Rijksmuseum, Neue Pinakothek, Munich, Germany.
  • 2009 The Hague School Revealed, Gemeentemuseum, The Hague, The Hague, The Netherlands.
  • 2009 The Hague School: Masterpieces from the Rijksmuseum, Centro Cultural Caixanova, Spain.
  • 2012 Mesdag to Mondrian: Dutch Art from the Redelé Collection, Academy Art Museum, Maryland, USA.
  • 2013 Modern Naturalist Painting in the Dutch Hague School: Inspiration from the Barbizon School and the Origin of van Gogh, Yamanashi Prefectural Museum of Art, Kofu, Japan.
  • 2014 Reflections of Holland: The Hague School and Barbizon, Japan Museum of Art, Tokyo, Japan.
  • 2015 Holland at it's Finest, Gemeentemuseum Den Haag + Dordrechtmuseum Dordrecht, Netherlands.
  • 2015 Grenzeloos Schilderachtig, Katwijks Museum, Katwijk, Netherlands.
  • 2015 Watercolors - Exhibition about the most beautiful Dutch watercolors from the 19th century, Teylers Museum, Haarlem, Netherlands.

literature

  • Norma Broude: Impressionism, an international art movement 1860-1920 , DuMont Verlag, Cologne 1990, ISBN 3-8321-7454-0 .
  • Roland Dorn, Klaus Albrecht Schröder, John Sillevis (Eds.): Van Gogh and the Hague School . Exhibition catalog, Bank Austria Kunstforum Wien, Skira editore Milan, 1996, ISBN 88-8118-072-3 .
  • Geurt Imanse: Van Gogh to Cobra: Dutch painting 1880–1950. Hatje, 1980, ISBN 3775701605 .
  • Fred Leeman, John Sillevis: De Haagse School en de jonge Van Gogh . Exhibition catalog, Waanders, Zwolle, Gemeentemuseum, The Hague, 2005, ISBN 90-400-9071-8 .
  • Ronald de Leeuw, John Sillevis, Charles Dumas (eds.): The Hague school - Dutch masters of the 19th century . Exhibition catalog, Gemeentemuseum, The Hague, Weidenfeld & Nicolson, London 1983.
  • Pelkmans, Ton and Anema, Ulbe (2011): De meester van Wolfheze: Frederik Hendrik Hendriks (1808–1865) en zijn leerlingen , Uitgeverij van Gruting, Utrecht, ISBN 978-90-75879-57-5 .
  • Jenny Reynaerts: The Wide View - Landscapes of the Hague School from the Rijksmuseum . Exhibition catalog, Hatje Cantz, Ostfildern 2008, ISBN 978-3-7757-2270-4 .
  • John Sillevis, Hans Kraan, Roland Dorn: The Hague School - Masterpieces of Dutch painting of the 19th century from Haags Gemeentemuseum. Exhibition catalog, Ed. Braus, Heidelberg, 1987, ISBN 3-925835-08-3 .
  • John Sillevis, JP van Brakel, R. Siebelhoff et al .: Katwijk in de Schilderkunst . Museum Katwijk, 1995, ISBN 90-800304-4-9 .
  • John Sillevis, Anne Tabak: The Hague school book. Waanders, Zwolle, Gemeentemuseum, The Hague, 2004, ISBN 90-400-9037-8 .
  • Renske Suyver: A Reflection of Holland - the Best of the Hague School in the Rijksmuseum . Rijksmuseum Amsterdam, 2011, ISBN 9086890482 .
  • Anna Wagner: The Hague School - Dutch painters a hundred years ago. Rheinisches Landesmuseum Bonn 1972. ISBN 3792701421 .

Web links

Commons : Hague School  - collection of pictures, videos and audio files
Wikisource: The Hague School in the catalog of the Royal Picture Gallery in Dresden (1887)  - sources and full texts

Remarks

  1. ↑ The movement of Impressionism as an art movement that emanated from France was taken up by the art landscape of the respective country, but it was implemented in a different manner to the character and mentality of the country. This is particularly evident at the Hague School.
  2. ↑ The Rijksakademie zu Amsterdam played a part in the further development towards modernity , which has to be seen in connection with the then director August Allebé .
  3. ↑ After the Battle of Waterloo , many English artists traveled to the mainland and brought their painting techniques with them.
  4. ↑ Here the pupil went out into nature with his master and got an introduction directly through object lessons.
  5. ↑ In Barbizon, open-air painting was first implemented on a large scale in an artists' colony.
  6. ↑ Frederik Hendrik Hendriks received his training at the School of Arts in Arnhem. It is then continued by the painter Jan van Ameron. His apprentices include Jacob J. Cremer, Corstiaan de Swart, Pieter Oerder, Frederik Johan Rosa and Sarah Hendriks, his daughter. In terms of art history, he is called the master of Wolfheze. With his choice of the pictorial genre, he prepared the Oosterbeek School of Artists together with JW Bilders.

Individual evidence

  1. ↑ Broude, pp. 9-12; 251-254
  2. ^ Gerd Spitzer: Masterpieces of Romanticism in the Dresden gallery. State Art Collections Dresden, Schirmer / Mosel, 2010.
  3. ^ Johan Poort: 1994 Hendrik Willem Mesdag. Life and work . Published by the Mesdag Documentatie Stichting. Wassenaar 1994, p. 85 f.
  4. ↑ Geurt Imanse: Van Gogh to Cobra: Dutch painting 1880–1950. Hatje, 1980, p. 116.
  5. ^ Johan Poort: 1994 Hendrik Willem Mesdag. Life and work . Published by the Mesdag Documentatie Stichting. Wassenaar 1994, p. 89.
  6. ^ Roland Dom: Van Gogh and the Hague School. Catalog for the exhibition “Van Gogh and the Hague School”, Bank Austria Kunstforum, Vienna 1996.
  7. ^ Roland Dom et al .: Vincent van Gogh an the Modern Movement 1890–1914. Catalog of the exhibition “Vincent van Gogh an the Modern Movement 1890–1914”, Museum Folkwang Essen 11 August – 4. November 1990 and “Van Gogh Museum” Amsterdam November 16, 1990-18. February 1991.
  8. ↑ Michel Seuphor: Piet Mondrian - Life and Work. DuMont Schauberg, Cologne 1957.
  9. ↑ The Hague School: Masterpieces of Dutch painting of the 19th century from Haags Gemeentemuseum. Publishing house Haags Gemeentemuseum, 1987.
  10. ^ The Düsseldorf School of Painting 1819–1918. Catalog Vol. 1 and 2, Michael Imhof Verlag, 2011.
  11. ^ The Hague School: Masterpieces of Dutch painting of the 19th century from Haags Gemeentemuseum , Verlag Haags Gemeentemuseum, 1987.
  12. ↑ a b Gallery Polak
  13. ↑ a b Geurt Imanse: Van Gogh to Cobra: Dutch painting 1880–1950. Hatje, 1980, p. 88.
  14. ↑ Gallery Polak "Late Hague School"
  15. ^ Kunstwissen.de: Vincent van Gogh
  16. ^ Otto Pecht: Rembrandt. Prestel-Verlag Munich, 1991.
  17. ^ Wilhelm von Bode: Rembrandt and his contemporaries. EA Seemann publisher, 1923.
  18. ↑ Norbert Wolf: Understanding painting. Scientific Book Society of Darmstadt, 2012.
  19. ^ Organization suggested by Dutch Art in the Nineteenth Century / The Forerunners of the Hague School.
  20. ^ Organization suggested by Dutch Art in the Nineteenth Century / The Hague School: Introduction.
  21. ^ Organization suggested by Dutch Art in the Nineteenth Century / The Hague School Sequel. and Dutch Art in the Nineteenth Century / The Younger Masters of the Hague School.