DOI Heft:
No. 175 (October, 1907)
DOI Artikel:Rutter, Frank: A consideration of the work of Anton Mauve
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.20776#0030
Anton Mauve
the colour of Daubigny
than that of any other
Romanticist.
Enough has been said
to show that Mauve was
under no overwhelming
obligation to any one
painter, though, like every
artist, he was indebted to
many. He took his good
where he found it, but he
went on his own way with-
out turning off to follow
slavishly the path of an-
other. Nature was his first
and most constant guide,
"sheep in barn" (water-colour) by anton mauve and at: her he looked studi-
(By permission of Messrs. Thos. Agnew &* Sons and Messrs. Wallis &= Son) ously a hundred times for
every glance he gave to her
missionary Roelofs from his headquarters at presentation in art. The progress of his life was as
Brussels, preceded that which Millet was afterwards steady and unsensational as the development of his
to exercise in the Low Countries. painting. He had some struggles at first like athou-
One of the first hints from a foreign source which sand others, but he was fortunately spared the bitter
Mauve accepted was given him, it would appear by privations and sufferings which might have delighted
Diaz, whose influence is unmistakable in the toler- his biographer. The taste to appreciate his work had
ably early oil painting The Old Barn (reproduced been formed by the men of the preceding genera-
on page 7). I do not say that in this rich, deco- tion. At early middle age Mauve was a successful
rative landscape Mauve deliberately imitates Diaz, man, and during his last decade he was over-
but that the sight of a Diaz has here encouraged whelmed with commissions, and could sell any
him to follow his natural
bent and lay on pigment
fatly with a generous brush
and secure a fine quality
of paint by the very rough-
ness of the surface. There
are few Mauves so finely
rugged as this, for without
losing quality his charac-
teristic handling grew
smoother, though it never
became thin or mean. In
this he may have learned
something from Daubigny,
from whose work he may
have been encouraged to
lighten his colour scheme
and pitch his landscapes in
a key rather higher and
truer to nature. Mauve's
colour, as has been said,
was his own, but that in the
works of his best period—
1865—75 may perhaps "washing day" (water-colour) by anton mauve
claim a closer kinship with (By permission of Messrs. Bousscd, Valadon 6? Co., The Hague)
the colour of Daubigny
than that of any other
Romanticist.
Enough has been said
to show that Mauve was
under no overwhelming
obligation to any one
painter, though, like every
artist, he was indebted to
many. He took his good
where he found it, but he
went on his own way with-
out turning off to follow
slavishly the path of an-
other. Nature was his first
and most constant guide,
"sheep in barn" (water-colour) by anton mauve and at: her he looked studi-
(By permission of Messrs. Thos. Agnew &* Sons and Messrs. Wallis &= Son) ously a hundred times for
every glance he gave to her
missionary Roelofs from his headquarters at presentation in art. The progress of his life was as
Brussels, preceded that which Millet was afterwards steady and unsensational as the development of his
to exercise in the Low Countries. painting. He had some struggles at first like athou-
One of the first hints from a foreign source which sand others, but he was fortunately spared the bitter
Mauve accepted was given him, it would appear by privations and sufferings which might have delighted
Diaz, whose influence is unmistakable in the toler- his biographer. The taste to appreciate his work had
ably early oil painting The Old Barn (reproduced been formed by the men of the preceding genera-
on page 7). I do not say that in this rich, deco- tion. At early middle age Mauve was a successful
rative landscape Mauve deliberately imitates Diaz, man, and during his last decade he was over-
but that the sight of a Diaz has here encouraged whelmed with commissions, and could sell any
him to follow his natural
bent and lay on pigment
fatly with a generous brush
and secure a fine quality
of paint by the very rough-
ness of the surface. There
are few Mauves so finely
rugged as this, for without
losing quality his charac-
teristic handling grew
smoother, though it never
became thin or mean. In
this he may have learned
something from Daubigny,
from whose work he may
have been encouraged to
lighten his colour scheme
and pitch his landscapes in
a key rather higher and
truer to nature. Mauve's
colour, as has been said,
was his own, but that in the
works of his best period—
1865—75 may perhaps "washing day" (water-colour) by anton mauve
claim a closer kinship with (By permission of Messrs. Bousscd, Valadon 6? Co., The Hague)