Oosterbeeker School

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Paul Gabriël (around 1860): - Landscape with Two Trees - Rijksmuseum Amsterdam.
Willem Carel Nakken (undated): Unloading the hay cart - private property

The Oosterbeeker School was active from 1841-1870. It is one of the oldest artists' colony in the Netherlands and is considered the cradle of the Hague School of panel painting. The village of Oosterbeek can be seen in connection with the Wolfheze and the unique, very varied and diverse images of the landscape and the rural population. In this artist colony, those painters came together who would later form the core of the Hague School and the Pulchri Studio , from which the Hollandse Teekenmaatschappij - Dutch Drawing Society emerged in 1878 . This school was the departure from romanticism and realism . It is the Dutch counterpart to the French Barbizon School and the subsequent phase of Pre- Impressionism or Impressionism and the later onset of Modernism .

Oosterbeek in the Dutch Golden Age

Aert van der Neer: River landscape in the moonlight.
Meidert Hobbema (1664): A watermill - Rijksmuseum.

The landscape painting of the 1st Golden Age of painting in the Netherlands during the time of the 7 republics experienced its boom here. The landscape art of this time had reached a typology that would set the trend for future generations of painters both in the Netherlands and abroad. In the landscape painting genre, the motifs had become

  • Overview landscape,
  • Panoramic landscape,
  • Mountain landscape,
  • Winter landscape,
  • Forest landscape,
  • River landscape,
  • Dune landscape,
  • Coastal landscape and
  • Seascape,

dissected. These are characteristic of 17th century Dutch painting. Landscapes by Jan van Goyen (1596–1656), Simon de Vlieger (1601–1653), Aert van der Neer (1603–1677), Jan Wijnants (1632–1684) and Meidert Hobbema (1638–1709) were already at that time. the pioneers of this genre.

About the geographical location of Oosterbeek

Oosterbeek is located near the foothills of the Rhine, about 4.0 km west of Arnhem, in the province of Gelderland . Even if experts only ever speak of Oosterbeek, Wolfhese, about 5.5 km away, is of immanent importance. Between these two places there are partly untouched forest, heathland, the famous Wotan forest with its Wotan oak, wetlands and the river landscapes. In addition, rural life here had remained almost untouched since the 1st Golden Age of the Netherlands.

The 1830 movement and Barbizon

Albrecht Dürer (1494/95): Valley of Kalchreuth in watercolor technique.
Richard Parkes Bonington (1820): On the Picardy Coast - Wallace Collections, London.
John Constable (1827): Seascape with Rain Clouds - Royal Academy of Arts, London.
Théodore Rousseau (undated): Sunset - Museu da Chárava do Céu, Rio de Janeiro.

As a starting point for turning away from academic studio painting with the given motifs of neoclassicism and the traditional conception of art, the revolutions of 1798 and 1830 in France also resulted in an enormous upheaval in painting. This led to an intellectual debate about the values ​​of tradition and progress. This marked the beginning of a spiritual counter-world in panel painting . The tangible things such as man and his life and nature were increasingly taken up as motifs - even the not beautiful was now considered worth painting. However, the Romantic style first appeared .

Meanwhile, young progressive artists such as Corot , Cabat , Alexandre-Gabriel Deschamps, Delacroix , Devéria , Huet , Rousseau gathered in Paris . They launched the École de 1830 and even managed to be admitted to the art exhibition of the Salon de Paris . The spark of this new trend in painting ultimately spread to the painters of the Netherlands.

The brushstroke, the lighting fixture, and the palette with the chosen colors were increasingly moving away from the guidelines given in the state-run art academies. The old watercolor technique of Albrecht Dürer also came along . In England in the 18th and 19th centuries, the watercolor technique was refined to such an extent that it can be seen here as an art in its own right. This also includes such motifs as

  • Forest landscape,
  • Dune landscape,
  • River landscape,
  • Coastal landscape,
  • Seascape and
  • Morals paintings.

If one grabs the names and the works, the art historian speaks of the "Great Age of British Watercolors" - the British Watercolors . Their wedding begins around 1750 and lasts for about 150 years. Above all, it is important to be able to make the picture more luminous with light brushstrokes in connection with the dye, as well as through the transparency of the absorbent painting surface. The possibilities of this painting technique, which were also found in the work of Richard Parkes Bonington and John Constable , found their way into the Parisian art world and were increasingly popular with the public.

This was a very interesting development for the Netherlands. At that time, dissatisfaction among students in their training at the Rijksakademie van beeldende kunsten in The Hague became apparent. The turning away from the academic rules of composition and their pictorial objects to the artist colony and the associated free choice of pictorial presentation based on the personal impression of man and nature was then only a matter of time.

Oosterbeek becomes the Barbizon of the north

Barend Cornelis Koekkoek (1848): Forest Face - Rijksmuseum.
Gerald Bilders (1860): Pasture near Oosterbeek - Rijksmuseum.
Jacob Maris (undated): daughter of Jacob Maris with flowers in the grass - Rijksmuseum.
Anton Mauve (undated): The log car - Rijksmuseum.
Johannes Jan de Haas - Herd in the Pasture - Rijksmuseum.

Around 1840/41 the landscape painter Johannes Warnardus Bilders came to Oosterbeek to paint directly from nature. He concentrated on a section of the landscape and chose a realistic representation. Here he came across Frederik Hendrik Hendriks. In 1852, after a stay in Utrecht, he finally settled here. At the beginning of Oosterbeek, there was initially not an artist colony in the sense of bringing together like-minded people in landscape painting, but initially it was about artist individuals such as Bilders and Hendriks. These had turned to living nature as part of the pristine landscape and the representation of rural life. The Italian and Dutch compositions were the main models.

At that time, Oosterbeek was slowly becoming the focus of art enthusiasts, who had summer residences built there with many guest rooms. One of the most important names at that time was Jan Kneppenhout, who was to become Gerhard Bilders' patron. Kneppenhout owned the country house "De Hemelsche Berg" (The Heavenly Mountain); Another place of accommodation was "De Oorsprong" (The Origin).

The older Johan Warnardus Bilders attracted a number of young artists as teachers and mentors. They include such names as Anton Mauve and the brothers Jacob , Matthijs and Willem Maris . Here Willem Maris made the acquaintance of Anton Mauve, who knew how to develop his style of landscape painting here. Jan Toorop even came here at the beginning of his creative phase . He recorded the stations of the cross in the church of St. Bernulphus on Utrechtseweg.

The artists' colony, which is on the rise, and the associated understanding of the landscape and the local population, as well as the contacts between the artists established here, are the origin and success of the later Hague School as Dutch Impressionism .

Above all, the friendships made by the artists in Oosterbeek and the Pulchri Studio artists' cooperative founded in 1847 are important . Ultimately, this cooperative benefited from the influx of artists from Oosterbeek, because one of its stated goals was also to promote the sales of its members.

Contact with Barbizon and change in painting technique

Jozef Israels (1850) and Willem Roelofs (1851) came from the Netherlands for the first time, taking part in painting excursions in the summer months. They took these experiences of outdoor painting with them to the Netherlands and then ultimately to Oosterbeek and Wolfheze. Jacob Maris (1964), Theophile de Bock and JH Weissenbruch also went there to learn the atmosphere around the painting technique, which is unique here.

The open air painting led to a change in the procedure for creating the picture. At first other binders and pigments were used, which was necessary because of the desired faster setting time. The pre-sketching with oil paint using simple lines on the canvas was also part of the change. In addition, there is the revival of the watercolor technique as the easy handling of the brush. The type of painting technique also made a big change. First of all, it was precisely sketched out, a drawing going down to the last detail, i.e. the technique of an Albrecht Dürer , from the finest to the finest. Now a new freedom in painting was visibly developing. Even Titian Vecellio had shown us this. The preliminary drawing was very rough, then the thin layers of paint were applied. The completion took place gradually with the well-known final detailed detailing. Working wet-on-wet in the final phase has been known and used since the Renaissance . This technique, successfully implemented from the heyday of classical Italian painting, found its way back to Pre-Impressionism and Impressionism. A quick drying underpainting was important and swimming in linseed oil was avoided! - There was also a very important invention. On September 11, 1841, the painter John Rand had received the patent for a tin tube as a storage vessel for oil paints. The English firm Windsor & Newton then took lead and presented this invention at the London World's Fair in 1851 . This fulfilled the essential prerequisite for open-air painting, because the paint could be preserved in the field painting box and processed on site.

Regarding the application of paint: The basic tone of a picture could be achieved by applying a pre-tone directly to the painting surface, which then also created the dark mood of the first generation of Hager School. The technical technique was to go from rough to fine. And you were faster with outdoor painting than with studio painting. With the latter, you didn't have to rely so much on speed and the colors could dry out in peace.

The type of display technique also made a significant change and was characteristic of the upheaval:

  • they turned to a reality-oriented color and light treatment,
  • the scenic ambience was thematized,
  • the popular moral image became popular,
  • Descriptions of the milieu up to satire became important again,
  • the sense of space and shape has been significantly changed,
  • the texture of the brush was used for the design language and
  • the formerly sharp edges have been broken, almost blurred.

The end of Oosterbeek

Louis Apol (1880 and later): Winter landscape with setting sun between the trees - Rijksmuseum Amsterdam.

With the influx of non-artists, the purchase of land and urban sprawl, the image of Oosterbeek as an artists' colony was significantly changed. As a result, the place lost in part its original character, which had been untouched for centuries, and on the other hand a certain unrest set in.

Some of the main artists of the Oosterbeek School

David Adolph Artz (1869): Mutterglück - private property.
Anton Mauve (around 1870): Houses on Sandweg - Rijksmuseum Amsterdam.
Willem Roelofs (1867): Landscape near Oosterbeek with cattle - Amsterdam Museum.
  • Louis Apol (1850-1936)
  • David Adolph Artz (1837-1890)
  • Theophile de Bock (1851-1904)
  • Jan Willem van Borselen (1825-1892)
  • Gerard Bilders (1838–1865)
  • Johannes Warnardus Bilders (1811–1890)
  • Marie Philippa van Bosse (1837-1900)
  • Jacob Jan Cremer (1827-1880)
  • Charles Dankmeijer (1861-1923)
  • Henry Dirk Kruseman van Elten (1829–1904)
  • Barend Ferwerda (1880–1958)
  • Paul Gabriël (1828–1903)
  • Johannes Jan de Haas (1832–1908)
  • Louwrens Hanedoes (1822-1905)
  • Frederik Hendrik Hendriks (1808-1865)
  • Hendrikus Alexander van Ingen (1846-1920)
  • Josef Israëls (1824-1911)
  • Frederik Hendrik Kaemmerer (1839–1902)
  • Barend Cornelis Koekkoek (1803-1892)
  • Jacobus van Koningsveld (1824–1866)
  • Cornelis Lieste (1817–1861)
  • Jacob Maris (1837-1899)
  • Matthijs Maris (1839-1917)
  • Willem Maris (1844-1910)
  • Antoon Markus (1870–1955)
  • Anton Mauve (1838-1888)
  • Claas Meiners (1819-1894)
  • Hendrik Mesdag (1831-1915)
  • Xeno Munninghoff (1873-1944)
  • Willem Carel Nakken (1835-1926)
  • Charles Rochussen (1814-1894)
  • Willem Roelofs (1822-1897)
  • Hendrikus van der Sande Bakhuyzen (1795–1860)
  • Ferdinand Carl Sierich (1839–1905)
  • Ludwig Casimir Sierig (1834-1919)
  • Louis Willem van Soest (1867-1948)
  • Jan Toorop (1858-1928)
  • Wouter Verschuur (1812–1874)
  • Maria Vos (1824-1906)
  • Jan Weissenbruch (1822–1880)
  • Jan Hendrik Weissenbruch (1824–1903)

Remarks

  1. ↑ See also Gaschke and Stocker, pp. 12–15.
  2. ↑ Here the “View of Haarlemmeer” from 1644 is important as a panoramic landscape.
  3. ↑ In this context, reference is made to “The beach at Scheveningen” from 1633, which is part of the coastal landscape
  4. ↑ The theme "Moonlight Landscape with a River", created around 1645/50, is a good example of a river landscape - the cows, which were supposed to play an essential role for the painters of the Hague School, especially Albertus Gerardus Bilders , were already the subject of the picture!
  5. ↑ “Dune landscape with cattle” from 1667 is in the tradition of the Dutch dune landscape.
  6. ↑ The "watermill with a large red roof" represents the forest landscape and the unspoilt nature of nature through the strong gnarled group of trees, which stands in contrast to the intervention by humans in the form of the watermill and the tiny, very small person as extras. It is precisely this extra role that man should keep in this landscape painting.
  7. ↑ Odin or Wotan is the main god of Norse mythology, i.e. the God the Father. The Edda is the most important tradition, further reference is made to Jan de Vries.
  8. ↑ This painting school École de 1830 received the aptly named École de Barbizon from an English art dealer. This name is more appropriate, especially since the local landscape and local country life was chosen as the motif.
  9. ↑ Huet, Corot, Narcisse, Diaz de la Peña, Jules Dupré and Théodore Rousseau were able to exhibit at the Paris Salon of 1831.
  10. ↑ Albrecht Dürer lived in Nuremberg from 1471–1528 and traveled extensively. In addition to his oil paintings, his watercolors, which were also created for study purposes, are of importance from an art-historical point of view - see also Piel Fig. 1 (Weiherhaus) and Fig. 12 (Weidenmühle).
  11. ↑ see also Wilton and Lyles
  12. ↑ Richard Parkes Bonington is one of the most important representatives of the English watercolorists of the time, who spent a long time in France and also had contact with important representatives of the "School of 1830". He lived from 1801-1828. Particularly important is the time in Baron Antoine-Jean Gros' studio from 1819, which was in the Institut de France, and the resulting contacts with French students of the visual arts - see also Noon, p. 18 ff. This is where he came with Delacroix.
  13. ↑ John Constable was an English landscape painter who was caught up in oil painting. In his oeuvre there are also influences from William Turner . He lived from 1790-1845. The awarding of the medal in the Paris Salon of 1825 for his painting "The Hay Wagon - Landscape: Noon" and the influence of Delacroix and Gericault on the young French artists are decisive here.
  14. ↑ Johannes Warnardus Bilders lived from 1811–1890 and was a romantic landscape painter. He had already captured atmospheric lighting effects and subdued light in his pictures and was thus already moving in the spirit of the new trend.
  15. ↑ Frederik Hendrik Hendriks (1808–1865) recorded many motifs in the area around Wolfheze.
  16. ↑ Gerhard Bilders was the son of John Warnardus Bilders
  17. ↑ Although it is attributed to the Art Nouveau, it initially turned to the Oosterbeek School.
  18. ↑ Weissenbruch was one of the last visitors to Barbizon when its importance as an artists' colony had faded
  19. ↑ In the case of the oil paints used in open-air painting, a faster drying time was important while maintaining the fluidity, consistency and durability of the color body on the substrate.
  20. ↑ It always depended on whether the technique of prima painting was used or on a media-colored background.

Exhibitions

  • 1863 Tentoonstelling van Artworks van Levende Meesters, Hague School of Art, The Hague.
  • 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 zu Bonn, Germany.
  • 1972 Hamburger Kunsthalle: The Hague School: Dutch painters 100 years ago.
  • 1980 Mondriaan and The Hague School: Watercolors and drawings from the Gemeentemuseum, The Hague.
  • 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.
  • 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.
  • 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
  • 2001 Mesdag and the Hague School, Gemeentemuseum Den Haag, The Hague
  • 2003 Jacob Maris: A retrospective of the work of a Dutch Impressionist, Teylers Museum, Haarlem.
  • 2003 Willem Witsen (1860–1923): Moods, Dordrechts Museum, Dordrecht.
  • 2004 De Haagse School and the young van Gogh, Stadhuis Brussel, Brussels, Belgium.
  • 2004 Jacob Maris, 1837–1899, Museum Jan Cunen, Oss.
  • 2004 The Hague School, Gemeentemuseum Den Haag, The Hague.
  • 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, The Hague.
  • 2006 Mesdag and The Hague School, Gemeentemuseum, The Hague.
  • 2008: The Wide View: Landscapes of the Hague School from the Rijksmuseum, Neue Pinakothek zu Munich, Germany
  • 2009 The Hague School Revealed, Gemeentemuseum, The Hague.
  • 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.
  • 2015 Grenzeloos Schilderachtig, Katwijks Museum, Katwijk.
  • 2015 Watercolors - Exhibition about the most beautiful Dutch watercolors from the 19th century, Teylors Museum, Haarlem

Bibliography

Books

  • Friedrich Piel: Albrecht Dürer - watercolors and drawings. DuMont Buchverlag, Cologne 1983, ISBN 3-7701-1483-3 .
  • Andrew Wilton, Anne Lyles: The Great Age of British Watercolors - 1750-1880. Prestel Verlag, Munich 1993, ISBN 3-7913-1254-5 .
  • Jenny Gaschke, Mona Stocker: The discovery of the landscape. DuMont-Verlag, Munich 2005, ISBN 3-8321-7648-9 .
  • Georges Pillement: Les Pré-Impressionistes. Train 1972, OCLC 251779014 .
  • Norma Broude: Impressionism - an International Movement 1860-1920. Dumond Buchverlag, Cologne 1990, ISBN 3-8321-7454-0 .
  • Freda Constable: John Constable, a biography, 1776–1837. Lavenham, Dalton 1975, ISBN 0-900963-54-9 .
  • Patrick Noon: John Parkers Bonington - On the Pleasure of Painting. Balding + Mansell, 1991, ISBN 0-300-05108-5 .
  • John Sillevis, Hans Kraan, Roland Dorn: The Hague School, masterpieces of Dutch painting of the 19th century from Haags Gemeentemuseum. Exhibition catalog. Kunsthalle Mannheim, Edition Braus, 1987, ISBN 3-925835-08-3 .
  • Willem de Bruin: I have been here: Oosterbeek. Nederlands first artificial hair colony. Atlas Contact, Amsterdam 2014, ISBN 978-90-450-1920-8 .
  • Jan de Vries: The spiritual world of the Teutons. WBG-Verlag, Darmstadt 1964, DNB 455325634 .
  • Walter Bernt: The Dutch painters and draftsmen of the 17th century. Volumes 1 and 3, 4th revised edition. Bruckmann Verlag, Munich 1980, ISBN 3-7654-1768-8 .
  • E. John Walford: Jacob van Ruisdael and the Perception of Landscape. Yale University Press, New Haven / London 1991, ISBN 0-300-04994-3 .
  • Ton Pelkmans, Ulbe Anema: De Meester van Wolfheze - Frederik Hendrik Hendriks 1808–1865. Uitgeverij van Gruting, 2011, ISBN 978-90-75879-57-5 .