Simon Moulijn
Simon Moulijn (born July 20, 1866 in Rotterdam , † November 2, 1948 in The Hague ) was a Dutch painter , draftsman and graphic artist . He was one of the most important Dutch artists of his time and was best known for his lithographic work.
Life
Simon Moulijn was born in Rotterdam as the son of the factory owner and businessman Simon Moulijn Sr. and his second wife Magdalena Maria Johanna Walter. Despite initial concerns from his parents, Simon Moulijn began training at the Rotterdam Academy of Art (Rotterdamsche Academie voor Beeldende Kunsten en Technische Wetenschappen) in 1882 .
From 1885 he studied at the Rijksacademie voor beeldende kunst (Reich Academy for Fine Arts) in Amsterdam. There he made the acquaintance of other artists such as Ferdinand Hart Nibbrig , Richard Roland Holst and Isaac Israels .
After completing his training in 1887, there was a period of artistic searching and wandering. He lived and worked a. a. in the province of Drenthe , in Rotterdam, in The Hague , in De Steeg near Arnhem, where he shared a studio with the painter Edzard Koning, and in Renkum . On March 12, 1902, Moulijn married the poet Hester Henriëtte Jacoba Haitsma Mulier, who was born on November 19, 1877.
The young couple settled in Laren . At that time, many of Moulijn's artists and fellow students already lived there. In 1903 he had the "d'Eglantier" house built in Laren according to his own design. The two sons were born in 1904 and 1908. In 1917 Moulijn was appointed as a teacher at the Rotterdamsche Academie voor Beeldende Kunsten en Technische Wetenschappen (art academy) and the family moved to The Hague. From 1935 to 1944 Moulijn lived and worked in Wassenaar . In 1946 the couple moved in with their eldest son in The Hague. Moulijn died on November 2, 1948.
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During the period of artistic search, the modern French painters as well as Jan Toorop and Vincent van Gogh were the great models for the work of Simon Moulijn. He was also heavily influenced by the symbolism of the Belgian philosopher Maurice Maeterlinck . Moulijn himself wrote about it in 1913: "His mysticism also led me to deform nature in a barbaric way."
Although symbolism often shimmered through in later works, Moulijn developed his own style and visual language around 1893-1894. His development as an artist began with simplistic, almost abstract images that were created under the influence of symbolism . Over the years his artistic expression changed in the direction of "Dutch realism". Time and again, Moulijn was fascinated by the beauty of nature in his pictures. But at the same time he had the personal need to tame the wild and chaotic nature. Many paintings and lithographs show forests and rivers from a certain distance or even behind a (garden) gate or wall. The park landscapes, where nature is under control, are also among his most beautiful pictures.
A first great success was the solo exhibition in the Hôtel de l'Art Nouveau by S. Bing in Paris in 1895.
Always looking for new inspiration, Moulijn traveled a lot. He worked u. a. in the provinces of Drenthe, Noord-Brabant, Gelderland and Zeeland as well as in South Limburg. His travels also took him abroad and he worked in Germany (including Monschau and Holzhausen 1905, Todtnau 1922), in Switzerland (Kandersteg, partly together with the Dutch artist Jan Eisenloeffel, 1926), in Italy (including Tivoli and Frascati 1911 , Florence 1938), in Luxembourg (Beaufort 1913), in France (including Fontainebleau 1930, Versailles 1930 and 1934, Neuilly 1931, the Abbey of Royaumont and other places on the River Oise, 1939 and in the Maritime Alps 1938). The result of these trips was a large number of paintings, drawings and lithographs. The fascination that the landscape with its different moods exerted on Moulijn is expressed again and again. His love for nature is also reflected in the frequent depictions of forest and park landscapes. The reproduction of the most varied of landscapes also expresses one of the most important characteristics of Moulijn as a “painter of romantic solitude”. From around the end of the 1920s, Moulijn also regularly painted and lithographed portraits.
Moulijn's first lithographs were created in 1893 . In the course of the years, lithography came to the fore in Moulijn's oeuvre due to the intensification of the occupation with drawing on stone. In his stone drawings, quiet river landscapes, forests, park landscapes, but also fortresses and lively, urban views of the port of Rotterdam play a leading role. The lithographic oeuvre comprises a total of 189 works. There are also drafts for bindings, drawings, etchings, woodcuts and commercial graphics. Moulijn illustrated several fairy tale books by the writer Marie Marx Koning.
In addition to a large number of articles in magazines and catalogs, Moulijn has authored two books: “De lithographische Prentkunst” (The lithographic image art, De Wereldbibliotheek, Amsterdam 1918) and “De eerste jaren van de lithographische prentkunst in Nederland” (The first years of the lithographic art Visual art in the Netherlands, Martinus Nijhoff, The Hague, 1927). In 1910 he founded a painting school together with F. Hart Nibbrig in Laren. In 1911 Moulijn co-founded the “Vereeniging tot Bevordering der Grafische Kunst” (Association for the Promotion of Graphic Art) and became the association's secretary.
As one of the most important Dutch artists of his time, he was often involved in the organization of important exhibitions of Dutch art and in particular graphics at home and abroad (including Leipzig 1914 and Brighton 1920). In 1934 he made a special contribution by organizing an exhibition of Dutch art in Budapest.
Works in public collections
The Drents Museum in Assen has a representative collection of works by Simon Moulijn.
All of Simon Moulijn's (then existing) graphic work was donated to the Rijksprentenkabinet in Amsterdam by friends in 1926. Works by Moulijn were a. a. bought from the following museums:
- Museum Boymans van Beuningen in Rotterdam,
- Kröller-Müller Museum near Otterlo,
- Centraal Museum in Utrecht,
- Dordrechts Museum,
- British Museum in London,
- Bibliothèque Nationale in Paris
- the Albertina in Vienna.
In addition to works by Moulijn, the Gemeente Museum in The Hague also acquired his large collection of lithographs, which provide an overview of the history of lithography in the Netherlands and France.
Prizes and awards
- 1915 Panama-Pacific International Exposition in San Francisco: bronze medal
- 1923 Exhibition of Dutch visual artists in Amsterdam: silver medal
- 1928 member of the jury at the Amsterdam Olympics: silver medal
- 1934 Budapest: silver plaquette
- 1934 Hungarian Cross of Merit
- 1936 honorary member of the Association for the Promotion of Graphic Art
- 1936 Ridder in de orde van Oranje-Nassau
Web links
Footnotes
- ^ Letter from Moulijn to the art critic GH Marius (Gemeentearchief Den Haag) in "Simon Moulijn 1866–1948".
- ^ DV Nijland: Simon Moulijn, Lithograaf en schilder . Ad Donker, Rotterdam 1946, p. 18-20 .
- ↑ Nijland, p. 20
- ↑ Algemeen Handelsblad quoted in Jan Jaap Heij: “Simon Moulijn als schilder en tekenaar” in “Simon Moulijn 1866–1948”.
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- Simon Moulijn 1866–1948, edition from the Drents Museum, Assen on the complete exhibition of the work of Simon Moulijn in 1989, Assen 1989, ISBN 90 70884 22 4
- DV Nijland, Simon Moulijn, Lithograaf en Schilder, monograph from the series “Beeldende kunstenaars”, editor Ad Donker, Rotterdam 1946
- De Valk Lexicon kunstenaars Laren-Blaricum, [1]
| personal data | |
|---|---|
| SURNAME | Moulijn, Simon |
| BRIEF DESCRIPTION | Dutch painter |
| DATE OF BIRTH | July 20, 1866 |
| PLACE OF BIRTH | Rotterdam |
| DATE OF DEATH | November 2, 1948 |
| Place of death | The hague |