Pulchri Studio

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Street view of the Pulchri Studio - Lange Voorhout 15.
Inner courtyard situation with atrium and equestrian statue.

Pulchri Studio ( Latin for: Out of zeal for the beautiful ) is an artists' association in The Hague in the Netherlands .

The association has been based in a villa at Lange Voorhout 15 since 1893 . Artists (painters, sculptors and photographers) and those interested in art are accepted as (society) members. For an artist membership one must first apply, which is also possible for foreign artists. The members are then selected by a committee determined by the General Assembly.

Membership enables artists to exhibit their own works in the society's galleries. These so-called sales exhibitions have been an essential part of this facility since the association was founded. Art lovers must be invited by other members.

origin

Paul Gabriël: Windmill in a puddle.

The outskirts around the coastal and residential city of The Hague with their rural surroundings around the nearby fishing village of Scheveningen and Oosterbeek attracted many young artists. The so-called Oosterbeek School had its heyday between 1841 and 1870. Instead of the pictures with historical, religious or mythological subjects required by the classical canon , the artists painted landscapes of the polder landscape , the Geest and the Dutch North Sea coast . Scenes from the life of the rural population before the onset of industrialization were an often chosen motif. In this, the group of artists followed the example of the French Barbizon School .

history

Diligentia.
Art exhibition with a view of the anteroom.

After the patronage for artists ceased to exist, a new way of building a new guild model was sought. In 1847, a new path emerged with the establishment of the Pulchri Studio Association . This association of artists is a typically Dutch development. It is a continuation of the tradition of the old academies of the 17th and 18th centuries and the Guilds of St. Luke from the 15th century. Pulchri Studio became the center for the resident artist colonies of The Hague, Laren and the Oosterbeek estate and was at the same time the hub for creation and contact with one another and with the outside world.

Gatherings called Kunstbeschouwingen (art observations) played a special role and gave artists the opportunity to present their own works to the other members and to exchange ideas with them. This way of dealing with the creative as apprentice with other artists as masters as well as the members interested in art as spectators has been the guarantee for the great success of the Hague School to this day. The Hague School was ultimately become synonymous with the Dutch Impressionism . The Amsterdam School , also known as the Allebé School , was ultimately the continuation of this development. The meeting places also served as a studio and workshop, offered the possibility of social contact with the local population and served to establish contact with collectors and dealers.

Initially, the artist group had no exhibition rooms. As an alternative, they took part in the Tentoonstelling van kunstwerken van levende meesters (exhibition of works of art by living masters), which takes place every two to three years and took place at different locations from 1808 to 1917. In 1882 Vincent van Gogh took part in such an art viewing together with Johannes Bosboom and Gerke Henkes .

The founding members of Pulchri included Lambertus Hardenberg , Willem Roelofs , Johan Hendrik Weissenbruch and Bartholomeus Johannes van Hove . Van Hove was also the first chairman of this artists' association in 1847. King Wilhelm II took over the patronage . Soon afterwards Johannes Bosboom, Jozef Israëls , Hendrik Willem Mesdag , Jan Weissenbruch and a few less well-known artists joined this society. Later significant members are also Jan Sluyters , Paul Citroen and Willy Sluiter .

Many experienced and successful painters, who are now part of the Hague School, held board positions at Pulchri Studio: Bosboom was chairman from 1852 to 1853, Israëls from 1875 to 1878, Mesdag from 1898 to 1907. But Jacob and Willem Maris , Anton Mauve , Roelofs and Weissenbruch were members of the board or as commission members responsible for the drawing room, the art contemplations or the social gatherings .

Counter currents

Theophile de Bock (1895/1905): City on the river Vecht - private property.

The Haagse Kunstkring (Hague Art Circle) formed a counter-association or attempt to split off . This group was founded in 1891 by the painter Théophile de Bock and the architect Paul du Rieu. It still exists today and was awarded the medal of the city of The Hague on its centenary.

In 1884, a smaller artists' association, the Arti et Industriae , was founded in The Hague . Its aim is to promote Dutch handicrafts. From the beginning it was oriented more towards the topic of industry and industrial progress and thus pursues a completely different orientation than the Hague School with its Pulchri Studio.

Pulchri Studio and the Hollandsche Teekenmaatschappij

The Society for Watercolor Painting , the Société Belge des Watercolorist , founded in Brussels in 1856 , was founded on the example of the Royal Watercolor Society in London . Through the contacts to Brussels, also through the environment of the Académie royale des Beaux-Arts de Bruxelles , watercolors as a painting technique became attractive again for the Dutch.

On January 31, 1878, the Hollandsche Teekenmaatschappij (German: Dutch drawing society ) was founded from the ranks of Pulchri Studios . It contributed to the fact that the watercolor technique reached a heyday from the late 19th century to the early 20th century. One of its founding members was the core of the Hague School , the Dutch Impressionist movement . It was organized independently, but closely linked to Pulchri Studio. Its honorary members included painters from Belgium, Germany and Italy. The Hollandsche Teekenmaatschappij existed until 1901.

Art Politics and Pulchri Studio

In contrast to the Amsterdam artist group Soziëtait Arti et Amicitiae , the traditional painting styles were rejected. This led to a scandal when Hermanus Koekkoek the Elder from King Willem III. received a medal as an award for a work. Pulchri has argued that this work no longer corresponds to the current state of art. In doing so, the group publicly opposed the official art policy of the Dutch king. This was represented in particular by Arzt, de Bock, Bosboom, Israëls, Jacob and Willem Maris, Mauve, Mesdag and Neuhuys. In addition, they announced that they would no longer be sent an invitation to participate in an art competition in the future.

Resurgence after the war

After the Second World War against Pulchri Studio accusations of collaboration raised. The association joined the Reich Chamber of Culture in Berlin in 1943 on the orders of the occupying power of Germany . This was seen as a collaboration in the Kingdom of the Netherlands in general and in Dutch artistic circles in particular. The then chairman Jan Willem Sluiter was then dismissed.

It was not until 1996 that Queen Beatrix reassumed the patronage of the artists' association, thereby helping her to regain recognition and importance in the public.

Outstanding exhibitions

  • 1892 Solo exhibition: The painter Jean-François Millet (1814–1875) in the Pulchri Studio.
  • 1897 Collective exhibition: 50th anniversary of the cooperative in Pulchri Studio.
  • 1905 Collective exhibition in Hamburg: Collection of Arti et Amicitiae and Pulchri Studio at the Kunstverein in Hamburg .
  • 1910 Collective exhibition: panel painting in the Pulchri Studio.
  • 1917 Solo exhibition: Johannes Bosboom (1817–1891) in the Pulchri Studio.
  • 1928 Joint event of the city of The Hague and Pulchri Studio as a solo exhibition: The artist Jan Toorop (1851–1928) .
  • 1930 Joint event of the city of The Hague, Pulchri Studio and Rijksmuseum in Amsterdam as a solo exhibition: The painter Johan Barthold Jongkind (1819–1891) .
  • 1947 Collective exhibition: 100 years of panel painting in Pulchri Studio in their own rooms.
  • 1955 Group exhibition: De Haagse Salon 1953 in Pulchri Studio.
  • 1961 Group exhibition: De Haagse Salon 1953 in Pulchri Studio.
  • 1967 Group exhibition: De Haagse Salon 1953 in Pulchri Studio.
  • 1968 Group exhibition: De Haagse Salon 1953 in Pulchri Studio.
  • 1997 Group exhibition: De Haagse Salon 1953 in Pulchri Studio.
  • 2011 Solo exhibition as a joint event by Arti Beurs - The Hague, Centrum Beeldende Kunst - Rotterdam, Galerie Kralingen - Rotterdam and Pulchri Studio: 50 x Vermeer .
  • 2015 Solo exhibition: Mesdag back in Pulchri in the Pulchri Studio.

List of the most important members in the 19th century

Johan Hendrik Doeleman: Rolde in Drente
Jacob Maris: Ferry Boat (1870).
Hendrik Willem Mesdag: Evening Hour by the Sea (1870)
Bartholomeus Johannes van Hove: Winter cityscape on the frozen river

swell

  • Britta Bley: From the state to the nation: On the role of art in the development of a Dutch national consciousness in the long 19th century. LIT-Verlag, Münster 2004, ISBN 3-8258-7902-X .
  • Norma Broude: Impressionism, an international art movement 1860-1920 , DuMont Verlag, Cologne 1990, ISBN 3-8321-7454-0 .
  • Ronald Dom: Van Gogh and the Hague School. Exhibition cat. Vienna 1996, ISBN 88-8118-072-3 .
  • Terry van Druten, Maite van Dijk, John Sillevis: De aquarel - Nederlandse meesters van de negentiende eeuw. THOT, Teylers Museum and De Mesdag Collectie, Bussum 2015, ISBN 978-90-6868-673-9 .
  • Richard Roland Holst: Hollandsche Teekenmaatschappij Pulchri Studio. 1917.
  • Ronald de Leeuw, John Sillevis, Charles Dumas: The Hague School - Dutch Masters of the 19th Century. Royal Academy of Arts, 1983, ISBN 0-297-78069-7 .
  • John Sillevis: The Hague School, masterpieces of 19th century Dutch painting from Haags Gemeentemuseum. Edition Braus, 1987, ISBN 3-925835-08-3 .
  • Willem Bastian Tholen: Hollandsche Teekenmaatschappij. The Hague 1914.
  • Paul Scholten, Eduard Maurits Meijers (ed.): Gedenkboek Burgerlijk Wetboek 1838–1938. Tjeenk Willink, Zwolle 1938.
  • Chris Stolwijk: Uit de schilderswereld: Nederlandse kunstschilders in de tweede help van de negentiende eeuw. Primavera Pers, Leiden 1998, ISBN 978-90-74310-35-2 .

Web links

Commons : Pulchri Studio  - collection of images, videos and audio files

Remarks

  1. ↑ The Reich Chamber of Culture Act of September 22, 1933 regulated in § 2, item 6, see also RGBl. I p. 661 ff., The development and dissemination of art of any kind. It stipulated compulsory membership for everyone who participated in the creation, reproduction, processing, distribution, preservation, sale or mediation of the sale of cultural works.
    This did not necessarily apply to the occupied Netherlands at first, as the imperial law of the Netherlands was initially binding. In Berlin, however, the implementing ordinances, amendments GBlÖ No. 191/1938, the announcement of the Reich governor in Austria were used, whereby the ordinance on the introduction of the Reich Chamber of Culture legislation in Austria of June 11, 1938 was made known.

Individual evidence

  1. ↑ Stolwijk, pp. 102-106
  2. ↑ Stolwijk, pp. 111-117
  3. ↑ RKD Netherlands Institute for Art History ( Memento of the original from July 4, 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. (English) @1@ 2Template: Webachiv / IABot / www.rkd.nl
  4. ^ Académie royale des Beaux-Arts de Bruxelles
  5. ↑ Broude, chapter A world of light , pp. 7–32
  6. ↑ Bley, pp. 124-125.
  7. ↑ Scholten / Meijers
  8. ^ Reichskuturkammergesetz of September 22, 1933
  9. ↑ Exhibitions at the Kunstverein in Hamburg from 1858 to 2010.