Beschrijving
With pointillism technique, monogrammed 'A' (lower right); framed. Restored, some inpaint (mainly in the depiction of the sky) corresponding to seven small patches on the reverse. A delightful stop between Van Gogh and Mondriaan. Frame size 54 x 74 cm.
Notes: "Thanks to Helene Kröller-Müller, the museum today boasts not only one of the finest Seurat collections in the world, but also a large number of neo-impressionist works by artists such as Paul Signac, Maximilien Luce, Henri Edmond Cross, Henry van de Velde, Théo Van Rysselberghe, Johan Aarts, Jan Vijlbrief, Jan Toorop, Leo Gestel, H.P. Bremmer, Jan Sluijters and Johan Thorn Prikker [...]. An exhibition by Les XX is held at the Haagsche Kunstkring in The Hague in 1892. This also includes four paintings by Georges Seurat, who died the previous year. The exhibition has a strong influence on a group of painters in Leiden and The Hague, including H.P. Bremmer, Johan Aarts and Jan Vijlbrief. Bremmer paints pointillist still lifes and landscapes in the period 1893-1895, after which he limits himself to painting in his free time. He devotes his attention to teaching art and becomes Helene Kröller-Müller’s advisor. Aarts works in the vicinity of The Hague and Leiden. His 'Farm in the dune district' derives from one of his walks around Leiden. Jan Vijlbrief paints the same subject, even from the same vantage point. And yet the atmosphere is very different: the painting by Aarts is bright and summery, while Vijlbrief’s is more subdued. [The latter killed himself at the age of 27]" ((Seurat's followers. Exhibition catalogue, cited from the website of the Kröller-Müller Museum). No water, no shadows, maybe not even grass. Yet we are looking at a locus amoenus of the first kind that will remove all worries at first blink. Everything breathes peace. Dolce. Niente. The city is far away, yet not invisible: if you look closely, you will recognise the purple silhouette of the city of Leiden, with the Hooglandse Kerk on the left and the Pieterskerk on the right. But the colour and the distance only underline its remoteness as the dunes are closer to the water of the sea and the tree will give us shade from the moment we need it. An extraordinary find, a highlight of Dutch Neo-Impressionism, but above all a most delightful painting.
A sunny day in the dunes, c. 1895
Aarts, Johannes Josephus
(Den Haag, 18 augustus 1871
-
Amsterdam,
19 oktober 1934)
Details
- Databanknummer:
- 82126
- Lotnummer:
- -
- Advertentietype
- Archief
- Instelling:
- Adams Amsterdam Auctions BV.
- Veilingdatum:
- -
- Veilingnummer:
- -
- Stad
- -
- Limietprijs
- -
- Aankoopprijs
- -
- Verkoopprijs
- -
- Hamerprijs
- -
- Status
- Verkocht
Technische details
- Kunstvorm:
- Schilder- en Tekenkunst
- Technieken:
- Olieverf
- Dragers:
- Doek
- Lengte:
- 40 cm
- Breedte:
- 60 cm
- Hoogte:
- -
- Oplage:
- -
Beschrijving
With pointillism technique, monogrammed 'A' (lower right); framed. Restored, some inpaint (mainly in the depiction of the sky) corresponding to seven small patches on the reverse. A delightful stop between Van Gogh and Mondriaan. Frame size 54 x 74 cm.
Notes: "Thanks to Helene Kröller-Müller, the museum today boasts not only one of the finest Seurat collections in the world, but also a large number of neo-impressionist works by artists such as Paul Signac, Maximilien Luce, Henri Edmond Cross, Henry van de Velde, Théo Van Rysselberghe, Johan Aarts, Jan Vijlbrief, Jan Toorop, Leo Gestel, H.P. Bremmer, Jan Sluijters and Johan Thorn Prikker [...]. An exhibition by Les XX is held at the Haagsche Kunstkring in The Hague in 1892. This also includes four paintings by Georges Seurat, who died the previous year. The exhibition has a strong influence on a group of painters in Leiden and The Hague, including H.P. Bremmer, Johan Aarts and Jan Vijlbrief. Bremmer paints pointillist still lifes and landscapes in the period 1893-1895, after which he limits himself to painting in his free time. He devotes his attention to teaching art and becomes Helene Kröller-Müller’s advisor. Aarts works in the vicinity of The Hague and Leiden. His 'Farm in the dune district' derives from one of his walks around Leiden. Jan Vijlbrief paints the same subject, even from the same vantage point. And yet the atmosphere is very different: the painting by Aarts is bright and summery, while Vijlbrief’s is more subdued. [The latter killed himself at the age of 27]" ((Seurat's followers. Exhibition catalogue, cited from the website of the Kröller-Müller Museum). No water, no shadows, maybe not even grass. Yet we are looking at a locus amoenus of the first kind that will remove all worries at first blink. Everything breathes peace. Dolce. Niente. The city is far away, yet not invisible: if you look closely, you will recognise the purple silhouette of the city of Leiden, with the Hooglandse Kerk on the left and the Pieterskerk on the right. But the colour and the distance only underline its remoteness as the dunes are closer to the water of the sea and the tree will give us shade from the moment we need it. An extraordinary find, a highlight of Dutch Neo-Impressionism, but above all a most delightful painting.
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