DOI Heft:
No. 228 (March 1912)
DOI Artikel:Eisler, Max: The van Randwijk collection, [1]: School of the Hague
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.21156#0122
The van Randwijk Collection
The Woodcutters belongs to his early maturity, and
its distinctive peculiarity is its charming colouring.
In the beauty of tone in his pictures Mauve stands
almost alone amongst the other members of The
Hague school, approaching the Frenchman Corot
in the courage with which he carries out his own
convictions. In his pearl-grey mists the lines are so
skilfully blended that they melt imperceptibly into
each other, and the whole colour-scheme of his
compositions is subdued and well balanced, adding
greatly to their picturesqueness. In him, indeed, all
the excellences of the best members of The Hague
group of painters are united, but modified by a
nature more susceptible, perhaps, than that of any
of them to the tenderer and more melancholy
aspects of nature.
The Sheep on a Farm is a harmony in grey and
dull gold, the blue coat of the shepherd alone
striking a contrasting note, the whole composition
producing something of the effect of a musical
theme when the hand of a master sweeps across
the strings. Ploughing, another work by Mauve in
Mr. van Randwijk’s collection, is a true poem of the
earth, full of the reverence for nature that set the
landscape painters of the school to which its author
belongs so far above any of their predecessors.
The rich brown earth with its fresh furrows is
steeped in the damp grey mist of early spring ; the
dark-coloured oxen drawing the plough, the peasant
behind them in his blue jacket, have all something
of the subdued tone that is distinctive of the atmo-
sphere in which they move. The grouping is
perfect, with its suggestion of the rhythmic move-
ments of the animals and their driver, but repose.is
the key-note of the whole, as it is of so much of the
work of The Hague masters, justifying the bracket-
ing of them together.
Jan Hendrik Weissenbruch (1824-1903) re-
sembles Mauve to some extent in his well-balanced
colour, but was less self-restrained than his greater
contemporary. His colour-scheme in the land-
scape representing him is a delicate one, but the
grey tones, instead of being blended, as in the work
of Mauve, with the more decided tints, are kept
separate from them as a kind of under-current.
Rich, warm, and shimmering, the colour adds great
charm to work of which it may perhaps be said that
light-hearted gaiety, such as animated the artists of
classic times, is the preponderating expression.
His pictures are evidently the outcome of his own
joy in the beauty of nature.
Albert Neuhuys (born 1844) belongs to the
same gifted group, and resembles his fellow-
members in his earnestness of outlook, rarely
relaxed even in his lightest moods, and in his
delight in what may be called childlike instinctive
emotions. His work is noteworthy for its quiet,
restrained colouring and avoidance of startling
SHEEP ON A FARM:
BY ANTON MAUVE
The Woodcutters belongs to his early maturity, and
its distinctive peculiarity is its charming colouring.
In the beauty of tone in his pictures Mauve stands
almost alone amongst the other members of The
Hague school, approaching the Frenchman Corot
in the courage with which he carries out his own
convictions. In his pearl-grey mists the lines are so
skilfully blended that they melt imperceptibly into
each other, and the whole colour-scheme of his
compositions is subdued and well balanced, adding
greatly to their picturesqueness. In him, indeed, all
the excellences of the best members of The Hague
group of painters are united, but modified by a
nature more susceptible, perhaps, than that of any
of them to the tenderer and more melancholy
aspects of nature.
The Sheep on a Farm is a harmony in grey and
dull gold, the blue coat of the shepherd alone
striking a contrasting note, the whole composition
producing something of the effect of a musical
theme when the hand of a master sweeps across
the strings. Ploughing, another work by Mauve in
Mr. van Randwijk’s collection, is a true poem of the
earth, full of the reverence for nature that set the
landscape painters of the school to which its author
belongs so far above any of their predecessors.
The rich brown earth with its fresh furrows is
steeped in the damp grey mist of early spring ; the
dark-coloured oxen drawing the plough, the peasant
behind them in his blue jacket, have all something
of the subdued tone that is distinctive of the atmo-
sphere in which they move. The grouping is
perfect, with its suggestion of the rhythmic move-
ments of the animals and their driver, but repose.is
the key-note of the whole, as it is of so much of the
work of The Hague masters, justifying the bracket-
ing of them together.
Jan Hendrik Weissenbruch (1824-1903) re-
sembles Mauve to some extent in his well-balanced
colour, but was less self-restrained than his greater
contemporary. His colour-scheme in the land-
scape representing him is a delicate one, but the
grey tones, instead of being blended, as in the work
of Mauve, with the more decided tints, are kept
separate from them as a kind of under-current.
Rich, warm, and shimmering, the colour adds great
charm to work of which it may perhaps be said that
light-hearted gaiety, such as animated the artists of
classic times, is the preponderating expression.
His pictures are evidently the outcome of his own
joy in the beauty of nature.
Albert Neuhuys (born 1844) belongs to the
same gifted group, and resembles his fellow-
members in his earnestness of outlook, rarely
relaxed even in his lightest moods, and in his
delight in what may be called childlike instinctive
emotions. His work is noteworthy for its quiet,
restrained colouring and avoidance of startling
SHEEP ON A FARM:
BY ANTON MAUVE