Jan Hillebrand Wijsmuller

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Jan Hillebrand Wijsmuller, portrayed by Hendrik Maarten Krabbé (1894)

Jan Hillebrand Wijsmuller (born February 15, 1855 in Amsterdam , † May 23, 1925 there ) was a Dutch artist. He is one of the Dutch impressionists of the 19th century and thus belonged to the 2nd Golden Age of Dutch painting .

From an art historical point of view, he belongs to the 2nd generation of the Hague School . He also used the vivid and light color palette of the French Impressionists - but from the point of view of a Dutchman.

resume

Winter landscape on the canal with houses.

In 1876 he began his training at the Royal Academy of Fine Arts in Amsterdam. There he was one of the 179 students of Prof. August Allebé . He was known for the fact that he preferred the conventional, rigid academy to a cosmopolitan, practice-oriented and contemporary education for his students. The current there, also known as the Allebé School , is better known as Amsterdam Impressionism .

Wijsmuller's years of traveling followed from 1877. They took him to the Royal Academy of Beeldende Kunsten in The Hague , to the Académie royale des Beaux-Arts de Bruxelles and finally to the Hague School in its heyday. The latter produced such well-known masters as Johannes Bosboom , Paul Gabriël , the brothers Jacob Maris and Matthijs Maris , Anton Mauve and Johan Hendrik Weissenbruch . Here Vincent van Gogh found his way into painting.

In 1891 he married Marie Anna Agatha Giesinger and one year later became the father of the triplets Karel, Jan and Paul, who did not turn to painting.

A sponsorship award for young up-and-coming artists was offered by Willink van Collen. In 1883 he won this coveted award. The title of the work he submitted is no longer known today.

He had settled in Amsterdam with his own studio. His friends included the artists Ernst Witkamp, Nicolaas van der Waay and Carel Dake. During this time u. a. Bernard A. van Beek , Ludolph Berkemeier and Pauline Suij his students.

He was a member of the Societät Arti et Amicitiae in Amsterdam and the Pulchri Studio cooperative in The Hague.

In terms of art history, it belongs to the second generation of the Hague School and the Allebé School .

He was buried in the Zorgvlied cemetery in Amsterdam.

Works by Jan Hillebrand Wijsmüller as a cross-section of his oeuvre

  • Old Amsterdam
  • Market at the North Church in Amsterdam
  • A view of Kolk in Amsterdam
  • Old canal in Utrecht with a view of the cathedral towers
  • An urban place
  • View of a city canal at night
  • Drawbridge in winter
  • Mills in a snowy landscape
  • Windmills in a polder landscape
  • Sawmills
  • Forest of Oosterbeek
  • The church of Kortenhoef
  • Face of Kortenhoefsdijk
  • Street scene in Katwijk aan Zee
  • Landscape near Blaricum
  • Bringing in the fluke
  • A river landscape
  • Winter landscape on the canal with houses
  • Water lilies
  • Ducks in a forest
  • Cows ruminating
  • Woman with mug
  • Flowers in the vase
  • A summer day on the beach
  • In the dunes overlooking the sea near Noordwijk aan Zee
  • Bomschuiten on the beach at Egmond aan Zee
  • Mussel fishermen on the beach

Style and work

Jan Hillebrand Wijsmuller: Market at the Noorderkerk in Amsterdam
Jan Hillebrand Wijsmuller: Checking the fish traps

Jan Hillebrand Wijsmuller belongs to the second generation of artists in the Hague School . The Hague School, also known as Dutch Impressionism , has its origins in the art direction of realism . This style was initiated by the Englishmen Richard Parkes Bonington and John Constable and continued through the Barbizon School , the emergence of French open-air painting , the artist group of Paul Huet and Théodore Rousseau and in the works of a Johan Jongkind . This was the forerunner of the French Impressionism movement , from which Dutch Impressionism in turn drew its roots.

Jan Hillebrand Wijsmuller had dedicated himself to the genre of landscape painting. The metropolis of Amsterdam with street life, with its canal life and the important port are motifs. The opposite pole are landscape views. They include different types of windmills, polder landscape fabric with fishing. His repertoire is rounded off by the classic Dutch theme - the continuation of the tradition of coastal landscape painting of the North Sea. In his compositions he follows the Barbizon school. In addition, he also devoted himself to the genre of portrait painting and still life. His forms of expression include hand drawing on paper as well as oil on wood and canvas.

In his paintings he uses his own imagery for spatial expansion and depth. You live through the harmonious play of colors between sky, clouds, water and landscape.

The lighting works through the material interrelationships of the seasons and climate typical for the Netherlands. His spectrum ranges from the dark tones of Jozef Israël , the gray period of the Hague School, to the lively light play of colors to achieve better lighting effects. Sometimes time seems to stand still, indeed a moment of infinity has been reached; this is an essential feature of the Dutch Impressionist movement. This character is in contradiction to the movement of French Impressionism, which is distinguished by its light and loose brushwork. His works are characterized by a high level of craftsmanship.

Exhibitions

  • 1903 Stedelijke internationale tentoonstelling van kunstwerken van levende meesters, Stedelijk Museum , Amsterdam.
  • 1905 Collection of Arti et amicitiae and Pulchri Studio at the Kunstverein 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.

In museum ownership and other institutions

Notes on style and work

  1. ↑ The first golden age of Dutch painting was around the time of Rembrandt van Rijn and Peter Paul Rubens .
  2. ↑ Especially the transition from the gray epoch of the Hague School and the processing of the possibilities of dyes with their light values, initiated by French impressionism, and the expansion of the landscape painting genre to include the winter face, the village face, the city face and the harbor face with the canals and the slow industrialization is the main characteristic of that second generation. In terms of art history, her work should continue well into the 20th century. And thereby negating the end of the international Impressionist movement that was established around 1920!
  3. ↑ Today it is known as the Rijksakademie .
  4. ↑ The Willink van Collenprijs was awarded with interruptions from 1880 to 1950. The aim was to support and promote the young generation of Dutch panel painting.
  5. ↑ According to the understanding of art historians, the Hague School is the epitome of Dutch Impressionism , from which Amsterdam Impressionism , also known as the Allebé School, developed through the emigration of George Breitner and Isaac Israëls and the work of the Rijksakademie in Amsterdam .
  6. ↑ The city theme is an essential feature of the 2nd generation of the Hague School.
  7. ↑ The palette of the Hague School was initially characterized by oker, brown to red-brown and pale green. Later the local colors were adopted, which could also be livelier. This captured the characteristic calm, drama and melancholy. It is noticeable that painting techniques from the 17th century, i.e. from the 1st Golden Age of Dutch painting, were taken up by Rembrandt van Rijn. Because of the emphasis on the gray tone, it was also called the "gray school".
  8. ↑ The second generation also oriented itself towards the light hues of the French Impressionists. - This can also be observed in a number of Wijsmuller's works.

Selected sources

Books

  • Denninger-Schreuder, Carole (1998): De onvergankelijke kijk op Kortenhoef: een Schildersdorp in Beeld, THOTH, Bussum, ISBN 978-90-6868-215-1 .
  • GH Marius: Dutch Art in the XIX Century. London 1908.
  • G. Knuttel Wzn: De Nederlandsche schilderkunst van Van Eyck dead Van Gogh. Amsterdam
  • JH Kraan: Holland in forced , in: De Haagse School, exhib. Paris / London / The Hague 1983, pp. 115–124.
  • G. Reichwein: Vreemde gasten, Kunstschilders in Volendam 1880–1914. Zuiderzee Museum, Enkhuizen 1986.
  • R. Zeitler: The art of the 19th century. Berlin 1966 (Propylaea Art History, Vol. 3).
  • De school of Barbizon. Franse meesters van de 19de eeuw. Exhib. Museum voor Schone Kunsten, Ghent / Haags Gemeentemuseum, The Hague / Institut Néerlandais, Paris, 1985/1986; Hans Kraan and John Sillevis, in: The Barbizon School, Dutch collections , exh. National Museum of Arts, Osaka 1987.
  • Jean-Jacques Lévêque: Les annèes impressionnistes 1870–1889. In: ACR Édition Internationale, Courbevoie (Paris) 1990.
  • HM Krabbé: "JH Wijsmuller" . In Elsevier's geïllustreerd manandschrift. Jaargang 4, deel 7, 1894 january-june.
  • Renske Suyver: A Reflection of Holland - the Best of the Hague School in the Rijksmuseum. Rijksmuseum Amsterdam, 2011, ISBN 90-8689-048-2 .
  • 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, Anne Tabak: The Hague school book. Waanders, Zwolle; Gemeentemuseum, The Hague, 2004, ISBN 90-400-9037-8 .
  • 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 .
  • Roland Dorn, Klaus Albrecht Schröder, John Sillevis (Eds.): Van Gogh and the Hague School. Exhibition catalog, Bank Austria Kunstforum Wien, Skira, Milan 1996, ISBN 88-8118-072-3 .
  • 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 .
  • 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.
  • Anna Wagner: The Hague School - Dutch painters a hundred years ago. Rheinisches Landesmuseum, Bonn 1972, ISBN 3-7927-0142-1 .
  • Geurt Imanse: Van Gogh to Cobra: Dutch painting 1880–1950. Hatje, 1980, ISBN 3-7757-0160-5 .
  • Back to Nature - The Barbizon Artists Colony. Exhibition catalog of the Kunsthalle Bremen 1977/1978.
  • Ingo F. Walter: Impressionism. 2010.
  • Wright, Christopher (1980): Paintings in Dutch Museums, Philip Wilson Publishers Ltd., London, ISBN 0-85667-077-4
  • Wijsmuller, Jan Hillebrand . In: Hans Vollmer (Hrsg.): General lexicon of fine artists from antiquity to the present . Founded by Ulrich Thieme and Felix Becker . tape 36 : Wilhelmy-Zyzywi . EA Seemann, Leipzig 1947, p. 336 .

Publications

  • B. Bakker ea, De verzameling Van Eeghen, Amsterdamsche tekeningen 1600-1950, Zwolle / Amsterdam 1988, p. 438
  • CL Dake, Aanteekeningen over beeldende kunst, Utrecht 1915, p. 75-76
  • HM Krabbé, “JHWijsmuller” , Elsevier's Geïllustreerd Maandschrift 4 (1894), p. 233-247 en idem in: M. Rooses [red.], Het Schildersboek, […], Dl 4, Amsterdam 1900, p. 179-195
  • J.Versteegh, 'Verandering tot die richting betekent voor mij: zelfmoord'. De kentering in de eerste tien jaren van Elsevier's Geïllustreerd Maandschrift ', De Boekenwereld 20 (2003-2004), p. 151

RDK archive in Amsterdam

  • Jonkman / Geudeker 2010, p. 52, 53
  • Marius 1920, p. 229
  • Scheen 1969-1970
  • Scheen 1981, p. 597, afb.nr. 807 (as: Wijsmuller, Jan Hillebrand)
  • Stolwijk 1998, p. 332
  • Witt Checklist 1978

Web links

Commons : Jan Hillebrand Wijsmuller  - Collection of pictures, videos and audio files
personal data
SURNAME Wijsmuller, Jan Hillebrand
BRIEF DESCRIPTION Dutch artist
DATE OF BIRTH February 15, 1855
PLACE OF BIRTH Amsterdam
DATE OF DEATH May 23, 1925
Place of death Amsterdam