Laren School
The Laren School is the name given to a group of painters who, starting around 1870, selected the Dutch village of Laren in Het Gooi and its inhabitants as the subject of their panel paintings . Laren, located near Hilversum, was known for its pilgrimage church - the Johanneskirche. It was discovered by the painter Jozef Israëls and, precisely because of its unspoilt nature and excellent variety of motifs, was accepted as an ideal location by key members of the Hague School . - After 1898 it was rediscovered by young artists. One speaks here of the 2nd generation of the Laren School, whose work extended well into the 20th century. - This artist colony is an essential part of Dutch impressionism, as part of this international movement, which then also gave impulses to modernity .
The first generation of the Laren school
With the advent of industrialization, which spread to Rotterdam, Amsterdam and other regions of the Netherlands, those landscapes that had been untouched for centuries increasingly disappeared and were irrevocably lost as motifs for the landscape and genre painting of the time. The fame of the Oosterbeek School lasted from about 1855 to 1870 and after 15 years they looked for a new place of work.
The painter Jozef Israëls discovered the village of Laren around 1870 . He often visited this with his son, who was instructed in painting by him. His enthusiasm for Laren with its traditional agriculture and sheep breeding and the untouched landscape itself finally carried over to his friends in the Hague in the Pulchri Studio . He was initially followed by Albert Neuhuys and Anton Mauvre in 1877 and 1882 respectively. Hein Kever, Willem Steelink Jr., Hendrik Valkenburg, Wally Moes, Etha Fles, Arina Hugenholtz and Tony Offermans followed suit . Not to be forgotten are Jan Hendrick Weissenbruch and Willem Roelofs. The Laren School was born as an artists' colony .
In contrast to Jozef Israëls, some of his friends settled here. Anton Mauvre and Albert Neuhuys helped this artist colony to gain national artistic recognition. This was done through the works created there, which then found their way to the art-loving public via the Pulchri Studio and connected galleries. Farm life as a genre was important to Neuhuys . The rest turned to landscape painting . The fields with the cows, the heathland with the grove, the Geestrücken and the old paths were both attraction and motif. In terms of art history, one speaks of the Laren style, which in turn is to be found in the spirit of the Hague School.
Around 1884, Max Liebermann was the first foreign painter to come to Gooiland. Liebermann had been friends with Jozef Israëls for a long time.
With the departure of this generation from the Hague School, the fame of this successful painting colony, which stands in the tradition of the Oosterbeek School, initially faded.
The second generation of the Laren school
Around 1898 Laren again attracted a group of young painters. This former artist colony was breathed into life again, which should last about 40 years. The second generation included such names as Otto van Tussenbroek , Evert Pieters , Bernard de Hoog , Hendrik Theo de Court Onderwater , Andre Broedelet , Salomon Garf , Franz Deutmann , Lammert van der Tonge , Jaap Dooijewaard , Bernard Pothast and Baruch Lopes Leão de Laguna . Most of these artists were genre painters, including Neuhuys. The landscape painters were Cornelis Vreedenburgh, Gerrit Willem van Blaaderen , Bernard Polfliet , Frans Langeveld and Ed van de Ven .
There was a change in style. While one could still speak of a style typical of Laren with the 1st generation, this had changed. Part of the Laren School followed the 1st and 2nd generation of the Hague School. The other part turned to the international movement of Impressionism, albeit with the orientation typical of the Netherlands and the essential opening to modernity .
In 1903, at the suggestion of Auguste Legras, the Gooische painter association "De Tien" (The Ten) was created. ( Gooiland is a region in the province of North Holland, which also includes Laren.) They organized group exhibitions across the country in order to develop a wider market for their members' work. Among others, Derk Meeles, Toon de Jong, David Schulman and Emanuel van Beever belonged to this tenure. In 1921, under Co Breman, "The Association of Visual Artists Laren Blaricum" was established, but due to the poor admission conditions, the Gooische Malervereinigung split into several groups in 1935 under the direction of Schulzman.
The American William Henry Singer , painter and art collector came to Laren in 1901; In 1911 he had the country house “De Wilde Zwanen” (The Wild Swans) built, from which the Singer Museum with a concert hall emerged after the Second World War through additions and renovations.
Individual painters who deviated from the usual impressionism in their style also worked in Laren . So created Co Breman and Ferdinand Hart Nibrig landscapes in the style of Pointillism and Luminism . Johan Coenraad Heyenbrock specialized in factory representations, while Auguste Legras made a living as a painter of animals in African landscapes. Jan Pieter Veth , on the other hand, was a portrait painter , and Douwe Komter mainly created still lifes . For modernists such as Piet Mondriaan , Jan Sluyters and Léo Gestel , this place was attractive and a stop on their creative path.
Today, the Singer Museum zu Laren makes works by some of these very well-known and popular painters accessible to the public. In addition, temporary exhibitions on current topics are offered here.
About naming
Although art collectors and authors like to use the term Laren School as an umbrella term for all painters working in Laren, from an art-historical perspective there is no talk of an independent movement, so that this school is viewed as a continuation of the Hague School or the Oosterbeek School becomes.
The Hague School was founded around ten years earlier, and several founders of this Laren artist colony such as Jozef Israëls and his son Isaac Israëls, Albert Neuhuys and Anton Mauve were already known as Hague painters before they came to Laren.
In Laren, the flat land was the main theme of the landscape painters. The lightening of the colors by adding golden yellow, red and blue to the previous gray Hague style is essential for the Laren school. This ultimately led to overcoming the gray period of the Hague School , so a change in the tone of the color solid. What is striking about the creation of the popular interior scenes is the romanticization of the socially tough living situation in this region of Gooiland.
Shown painters in the Singer Museum in Laren
- Marius Bauer (1867–1932)
- Johannes Bosboom (1817-1891)
- Georg Breitner (1857–1923)
- Arthur Henri Christiaan Briët (1867–1939)
- Franz Wilhelm Maria Deutmann (1867–1915)
- Paul Joseph Constantin Gabriël (1828–1903)
- Auguste Johannes Le Gras (1864–1915)
- Charles Paul Gruppé (1860-1940)
- Jacobus Simon Hendrik Kever (1854–1922)
- Baruch Lopes Leão de Laguna (1864–1943)
- Jacobus Hendricus Maris (1837–1899)
- Anton Mauve (1838-1888)
- Johannes Albert Neuhuys (1844-1914)
- Anton Lodewijk George Offermans (1854-1911)
- Ferdinand Gustaaf Willem Oldewelt (1857–1935)
- David Oyens (1842-1902)
- Evert Pieters (1856-1932)
- Paulus Philippus Rink (1862–1903)
- Cornelius Rudolf Hendrik Spoor (1867–1928)
- Emmanuel Ernest Geradus van der Ven (1866–1944)
- Jan Visser (1856–1938)
- August Willem van Voorden (1881-1921)
- Hendrik Johannes Weissenbruch (1824–1903)
Bibliography
- Leeuw, Ronald de; Sillervis, John and Dumas, Charles (1983): The Hague School. Weidenfeld and Nicolson, London, ISBN 978-0-297-78069-4 .
- Wright, Christopher (1980): Paintings in Dutch Museums, Philip Wilson Publishers Liumited, London, ISBN 978-90-290-1303-1 .
- Heyting, Lien (2004): De Wereld in Een Dorp, - schilders, schrijversen en wereldverbeteraaus in Laren en Blaricum , Medenhoff, ISBN 978-90-290-4856-9 .
- Denninger-Schreuder, Carole (2003): Schilders van Laren, Thoth - Uitgeverij , ISBN 978-90-6868-327-1 .
- Koenraads, Jan P. (1985): Laren en zijn Schilders, Boekhandel Juli Kluvers , ISBN 978-90-71160-02-8 .
Web links
Individual evidence
- ↑ This relationship reflects the successful system of the Barbizon School , i.e. painting by the master with the pupil in nature or on the object itself.
- ↑ Nina Lübbren: Rural artists' colonies in Europe, 1870-1910 , Manchester University Press, 2001. p. 170
- ↑ Anton Mauve - Rijksmuseum Amsterdam ( Memento of the original from December 19, 2007 in the Internet Archive ) Info: The archive link has been inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.
- ↑ At that time there were other artist colonies in the whole of Holland, but they were never to become as important and famous as Scheveningen , Oosterbeek , Laren, Kortenhoef and Katwijk .
- ↑ The place Oosterbeek itself is referred to art-historically as the Barbizon of the north.
- ↑ In terms of art history, this generation of painters is assigned to the 4th generation of the Hague School, as defined by Leeuw, Sillevis and Dumas. This contradicts the usual, evolved view of art history, which judges a new generation after a change in color scale, light and shadow system, image structure and painting technique.
- ↑ Because you belonged neither to an artists' association nor to a cooperative like Pulchri Studio , Arti et Amicitiae , you were forced to take this other path.
- ↑ Holland Theaterweb ( Memento of the original from September 30, 2015 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.
- ↑ Dutch painters are always measured against the 1st Golden Age of Dutch painting . The gray period is characterized by the avoidance of generous lighting and strong individual colors. In doing so, she followed the technique of Rembrandt van Rijn .
- ↑ Charles Paul Gruppé was an American who began his art studies in 1898 at the Koninklijke Academie van Beeldende Kunsten in The Hague and had also received instruction from Hendrik Willem Mesdag . He is assigned to the Hague School , whereby he lies in the choice of the luminosity of the painting medium between the "gray period" of the Hague School of the 1st generation and the following generation. He was a member of the Pulchri Studio art cooperative and the Arti et Amicitiae art association .
- ↑ Anton Mauve after frequent changes of residence, he settled in Laren in 1885. For more information, see Ronald de Leeuw et al., P. 233.
- ↑ Johannes Albert Neuhuys had also settled in Laren. For further information, reference is made to Ronald de Leeuw et al., P. 233 and p. 263.
