DOI Heft:
No. 114 (September, 1902)
DOI Artikel:Veth, Jan: Modern Dutch art: the work of Josef Israels
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19876#0251
Josef Israels
Mi
ODERN DUTCH ART: THE this difference clearly in mind. But the difference
WORK OF JOSEF ISRAELS, between the modem Dutchman and his matchless
BY JAN VETH. predecessors goes further than this ; the old Dutch
painters, with all their amazing accuracy of eye, had
While we may regard Josef Israels as one also a well-tested technique. Not only is Israels'
of the most eminent leaders of the revival, devoid of that keenness of vision—in vain do we try
after a long period of torpor, in Dutch art, it is to discover any system in his harmonious treatment
important to inquire how far his work agrees in and tentative technique—but the handling in any
principle with that of his predecessors, and how far fine and genuine work by him is inscrutable,
he differs from the classic Dutch school. As it seems The choicest pictures by this master are painted in
to me, from a comprehensive view of the painter, a truly mysterious way, simply by the nervous
one great difference is at once evident: the old vigour of an untaught hand ; with heavy, sweeping
Dutch masters were, on the whole, the most perfect shadows and thick touches of paint, which stand out
painters of still life ever known ; and not merely in in a wonderful mixture of sharp relief, and dim, con-
such pictures as are commonly designated as "still fused distance; with soft hesitation and touches of
life " in catalogues, but no less in their paintings of crudely decisive certainty ; with broad outlines
interiors and views of streets, in their portraits, and and incisive emphasis. Ruggedness and tender-
even in their landscapes. When I say that these ness, corruption and sweetness, whimsicality
old Dutch painters excelled in still life, I mean and decision, are magically mingled there in
that they had exceptional skill in depicting the dignified depth, with the most refined feeling—the
surface of things with striking
exactitude and almost tangi-
ble realism. It is true, in-
deed, that the best of them
could do much more than
this—that they were able to
infuse great feeling into these
presentments, and the quali-
ties of still life became the
vehicle of deep expression.
Nevertheless, this perfect
rendering is the very basis
of their art, which we can
scarcely imagine without that
chief characteristic.
In Josef Israels this funda-
mental Dutch quality is al-
most non-existent. It is
wonderful how, with so little
power of precise perception,
this painter of real life has
grown to be so great an artist.
A piece of actuality, clearly
seen lineforline, tone on tone,
with all that is cognisable:
sheen and shadow, rigidity
and softness, pliancy and
solidity, is to be found in
perfection in almost every
old Dutch master, but will
be looked for in vain in
Israels' deeply impressive
pictures. To appreciate him
rightly, it is necessary to keep A STUDY BY J0SEF ISRAItLS
XXVI. No. 114.—September, 1902. 239
Mi
ODERN DUTCH ART: THE this difference clearly in mind. But the difference
WORK OF JOSEF ISRAELS, between the modem Dutchman and his matchless
BY JAN VETH. predecessors goes further than this ; the old Dutch
painters, with all their amazing accuracy of eye, had
While we may regard Josef Israels as one also a well-tested technique. Not only is Israels'
of the most eminent leaders of the revival, devoid of that keenness of vision—in vain do we try
after a long period of torpor, in Dutch art, it is to discover any system in his harmonious treatment
important to inquire how far his work agrees in and tentative technique—but the handling in any
principle with that of his predecessors, and how far fine and genuine work by him is inscrutable,
he differs from the classic Dutch school. As it seems The choicest pictures by this master are painted in
to me, from a comprehensive view of the painter, a truly mysterious way, simply by the nervous
one great difference is at once evident: the old vigour of an untaught hand ; with heavy, sweeping
Dutch masters were, on the whole, the most perfect shadows and thick touches of paint, which stand out
painters of still life ever known ; and not merely in in a wonderful mixture of sharp relief, and dim, con-
such pictures as are commonly designated as "still fused distance; with soft hesitation and touches of
life " in catalogues, but no less in their paintings of crudely decisive certainty ; with broad outlines
interiors and views of streets, in their portraits, and and incisive emphasis. Ruggedness and tender-
even in their landscapes. When I say that these ness, corruption and sweetness, whimsicality
old Dutch painters excelled in still life, I mean and decision, are magically mingled there in
that they had exceptional skill in depicting the dignified depth, with the most refined feeling—the
surface of things with striking
exactitude and almost tangi-
ble realism. It is true, in-
deed, that the best of them
could do much more than
this—that they were able to
infuse great feeling into these
presentments, and the quali-
ties of still life became the
vehicle of deep expression.
Nevertheless, this perfect
rendering is the very basis
of their art, which we can
scarcely imagine without that
chief characteristic.
In Josef Israels this funda-
mental Dutch quality is al-
most non-existent. It is
wonderful how, with so little
power of precise perception,
this painter of real life has
grown to be so great an artist.
A piece of actuality, clearly
seen lineforline, tone on tone,
with all that is cognisable:
sheen and shadow, rigidity
and softness, pliancy and
solidity, is to be found in
perfection in almost every
old Dutch master, but will
be looked for in vain in
Israels' deeply impressive
pictures. To appreciate him
rightly, it is necessary to keep A STUDY BY J0SEF ISRAItLS
XXVI. No. 114.—September, 1902. 239