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#0127
The van Randwijk Collection
“THE ARRIVAL OF THE FISHING BOATS”
BY HENDRIK W. MESDAO!
effects. In his First Steps his interpretation of the
mother and child is simple, natural, and happy,
bringing out the affection between the two, and
recalls similar compositions by Jacob Maris, whilst
it is wanting in the force of expression of such
subjects when treated by Israels. The Little
Mother, a later production, is far superior to First
Steps alike in the penetration into character it
displays and in the way in which the atmosphere
of the room is rendered. In a water-colour called
Maternal Love the artist has excelled himself in
force of expression. Relieved against the dull
brown and grey-blue shadows of the background
sits a weary woman of the North about to suckle
her child ; her careworn face, her drooping eyelids,
the very tensity of the delicately painted skin, all
bathed in tender light, seem alike significant of the
joy and the glory of motherhood.
The Child and the Kid, by Bernard J. Blommers
(born 1845), is a well-balanced group with a sugges-
tion of rhythmic motion. The white coat of the
animal and cap of the woman contrast well with
the latter’s blue skirt, the child’s deep violet dress,
and the background of pale green foliage, but the
whole picture errs, perhaps, in being somewhat too
pretty.
With our criticism of Blommers our review of
the members of The Hague school properly so
called comes to an end. The one notable name
conspicuous by its absence is that of P. T. C.
Gabriel, the landscape painter, who combines a
vivid imagination with great skill of technique, his
colouring being especially fine. One word must,
however, be added concerning certain artists who
are, so to speak, related to the school, though they
cannot be said actually to belong to it. First and
foremost comes Alma-Tadema (born 1836), who is
represented in the collection by A Peep through the
Trees, a work which betrays a very close affinity with
the painters of the land of his birth. The picture
shows a finely modelled woman, a true Frisian,
lying in the shade, and the scene in which she rests,
in which the delicate shades of green contrast with
the brown distance and the strip of fleecy grey cloud,
is equally typical of Holland.
The collection also contains works by certain
gifted artists belonging to the rising generation.
The Winter in Amsterdam of G. H. Breitner (born
1857) and the Veil-Dance of M. A. J. Bauer (born
1867) display great talent and are suggestive of the
overflowing energy and exuberant imagination ol
the young, whilst the fine compositions of Jongkind
and Roelofs may justly be said to be true links
between the school of The Hague and the Barbizon
group of masters.
Of works by these Barbizon men, the collection
of Mr. van Randwijk contains some fine examples.
Corot, Daubigny, Troyon, Millet, Diaz, Rousseau,
and others are well represented, but I must leave
these to be dealt with in a future number.
107
“THE ARRIVAL OF THE FISHING BOATS”
BY HENDRIK W. MESDAO!
effects. In his First Steps his interpretation of the
mother and child is simple, natural, and happy,
bringing out the affection between the two, and
recalls similar compositions by Jacob Maris, whilst
it is wanting in the force of expression of such
subjects when treated by Israels. The Little
Mother, a later production, is far superior to First
Steps alike in the penetration into character it
displays and in the way in which the atmosphere
of the room is rendered. In a water-colour called
Maternal Love the artist has excelled himself in
force of expression. Relieved against the dull
brown and grey-blue shadows of the background
sits a weary woman of the North about to suckle
her child ; her careworn face, her drooping eyelids,
the very tensity of the delicately painted skin, all
bathed in tender light, seem alike significant of the
joy and the glory of motherhood.
The Child and the Kid, by Bernard J. Blommers
(born 1845), is a well-balanced group with a sugges-
tion of rhythmic motion. The white coat of the
animal and cap of the woman contrast well with
the latter’s blue skirt, the child’s deep violet dress,
and the background of pale green foliage, but the
whole picture errs, perhaps, in being somewhat too
pretty.
With our criticism of Blommers our review of
the members of The Hague school properly so
called comes to an end. The one notable name
conspicuous by its absence is that of P. T. C.
Gabriel, the landscape painter, who combines a
vivid imagination with great skill of technique, his
colouring being especially fine. One word must,
however, be added concerning certain artists who
are, so to speak, related to the school, though they
cannot be said actually to belong to it. First and
foremost comes Alma-Tadema (born 1836), who is
represented in the collection by A Peep through the
Trees, a work which betrays a very close affinity with
the painters of the land of his birth. The picture
shows a finely modelled woman, a true Frisian,
lying in the shade, and the scene in which she rests,
in which the delicate shades of green contrast with
the brown distance and the strip of fleecy grey cloud,
is equally typical of Holland.
The collection also contains works by certain
gifted artists belonging to the rising generation.
The Winter in Amsterdam of G. H. Breitner (born
1857) and the Veil-Dance of M. A. J. Bauer (born
1867) display great talent and are suggestive of the
overflowing energy and exuberant imagination ol
the young, whilst the fine compositions of Jongkind
and Roelofs may justly be said to be true links
between the school of The Hague and the Barbizon
group of masters.
Of works by these Barbizon men, the collection
of Mr. van Randwijk contains some fine examples.
Corot, Daubigny, Troyon, Millet, Diaz, Rousseau,
and others are well represented, but I must leave
these to be dealt with in a future number.
107