Some paintings from this folder could belong to his son, need to investigate more abaut him, not much info I could find. Born in London, the senior member and best known of a family of painters, Abraham Hulk studied in Holland at the Amsterdam Academy under portrait painter Jean Augustin Daiwaille. He is one of the very few only foreign-born artists ever to be admitted to this prestigious academy. Early on he turned from portraits to marine painting. Hulk is often mistakenly referred to as a Dutch artist due to the strong Dutch influence and conception of his paintings. He is mainly noted for his estuary scenes featuring Dutch barges under full sail. In these paintings he was considered a master of atmosphere and composition. He traveled to America and exhibited briefly in Boston in the 1830s. He returned to Amsterdam and then London where he spent the next 27 years as a marine artist exhibiting often at the Royal Academy and Suffolk Street Gallery. Some paintings from this folder could belong to his son, need to investigate more abaut him, not much info I could find.
I had to add this amazing painter of night scenes. I found him first as a landscape painter with the two night seascapes from the bottom of his page, but than I discovered his night scenes wich are amazing! Born at Terheyden North Brabant on April 21st, 1806, Petrus van Schendel studied at the Antwerp Academy under Mathieu-Ignace van Breen (1773-1839), a painter of historical subjects. He then worked in Amsterdam for two years before moving to Rotterdam in 1832 where he made himself a reputation as a portrait painter. He remained there until 1838. He resided in The Hague until his death in Brussels in 1870. Petrus van Schendel was a prolific artist, exhibiting regularly in Amsterdam, Antwerp and The Hague between 1827 and 1867. He also exhibited in Brussels and Ghent, and won a gold medal for "Market Scene by Moonlight" exhibited in Brussels in 1845 and again at the landmark 1857 Art Treasures Exhibition in Manchester with a painting entitled "A Fish Market". He exhibited at the Royal Academy, London in 1855 and 1856. Van Schendel traveled extensively throughout Europe. He became famous for his depiction of the dramatic effects of light in darkness emanating from candles, lamps and torches as seen in this piece. Van Schendel became a member of the Royal Academy in Amsterdam in 1834, and a member of Arti Sacrum in Rotterdam. His works can be found in museums in: Amsterdam (The Hague and Rijksmuseum), Rotterdam (Museum Boymans van Beuringen) , Hamburg, Berlin, Leipzig, Munich, Melbourne, Montreal, Nice and Stuttgart.
Translation of: Farbige Dekorationen
A site dedicated to the most brilliant landscape painters
A site dedicated to the most brilliant landscape painters
Fredrik Marinus Kruseman was born to a family, which included a number of artists amongst their relatives, including Jan Adam Kruseman, Director of the Academy of Art in Amsterdam. This latter artist’s tutor had been Jan Reekers (1790-1858) and it was to him also that Fredrik was apprenticed. He subsequently studied under Nicolaas Roosenboom (1805-1880), the former pupil and son-in-law of Andreas Schelfhout (1787-1870) and in 1837 received instruction in Kleve from Barend Cornelis Koekkoek (1803-1862). Thus, by the age of twenty-one Kruseman could number two pillars of Dutch Romanticism amongst his teachers. In 1838 he was back in Haarlem and exhibiting in The Hague and Brussels, where his works were favourably reviewed. 1841 saw Kruseman move to Brussels. At that period, following the separation of Belgium from The Netherlands, the art market in Brussels was thriving in a country undergoing an economic revolution. Kruseman exhibited in neither the Salons nor the Living Masters Exhibitions between 1841 and 1857 from which can be inferred a relationship with an art dealer or a group of collectors; it was a prolific period for the artist. The years 1852-1856 saw Kruseman back in Haarlem before returning to Brussels for good. Here in 1851 he met Eugene Verboeckhoven (1799-1881), the great animal painter, and with whom he collaborated frequently over the following thirty years. In many ways an enigma, little is known of his life, he exhibited few works, yet Kruseman was clearly a successful and popular artist of the Romantic school. His works can be found in museums in: Maidstone; Amsterdam; Haarlem, Frans Hals Museum; The Hague; Hamburg; Kleve and Leipzig.
The Dutch landscape painter, Pieter Lodewijk Francisco Kluyver (1817-1900), was a specialist in panoramic landscapes working in the area around Arnhem, Amersfoort, The Hague and Amsterdam. In terms of style and composition and his search for technical perfection, Kluyver's work is very much a continuation of the 17th century Northern Netherlandish tradition of landscape painting as exemplified, among others, by Jacob Ruysdael and Philips Koninck. The painting shown here is of particular interest given its daring use of colour perspective, Kluyver's use of light and the impressive clouded sky. The artist has enriched the foreground with figures which stylishly lead the viewer's gaze in the direction of the plain stretching out towards the horizon. This painting is a 'pièce de conversation' in the true sense of the word: it illustrates the artistic dialogue between the realists of the 17th century and their 19th century successors with a nicety that is rarely encountered. While the 17th century painters worked from memory, their 19th century admirers extended their painterly language through the fruits of the great 19th century advance of observation.
Fredrik Marinus Kruseman was born to a family, which included a number of artists amongst their relatives, including Jan Adam Kruseman,...
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Constant, Jean Joseph Benjamin
Fredrik Marinus Kruseman was born to a family, which included a number of artists amongst their relatives, including Jan Adam Kruseman, Director of the Academy of Art in Amsterdam. This latter artist’s tutor had been Jan Reekers (1790-1858) and it was to him also that Fredrik was apprenticed. He subsequently studied under Nicolaas Roosenboom (1805-1880), the former pupil and son-in-law of Andreas Schelfhout (1787-1870) and in 1837 received instruction in Kleve from Barend Cornelis Koekkoek (1803-1862). Thus, by the age of twenty-one Kruseman could number two pillars of Dutch Romanticism amongst his teachers. In 1838 he was back in Haarlem and exhibiting in The Hague and Brussels, where his works were favourably reviewed. 1841 saw Kruseman move to Brussels. At that period, following the separation of Belgium from The Netherlands, the art market in Brussels was thriving in a country undergoing an economic revolution. Kruseman exhibited in neither the Salons nor the Living Masters Exhibitions between 1841 and 1857 from which can be inferred a relationship with an art dealer or a group of collectors; it was a prolific period for the artist. The years 1852-1856 saw Kruseman back in Haarlem before returning to Brussels for good. Here in 1851 he met Eugene Verboeckhoven (1799-1881), the great animal painter, and with whom he collaborated frequently over the following thirty years. In many ways an enigma, little is known of his life, he exhibited few works, yet Kruseman was clearly a successful and popular artist of the Romantic school. His works can be found in museums in: Maidstone; Amsterdam; Haarlem, Frans Hals Museum; The Hague; Hamburg; Kleve and Leipzig.
Born in Den Haag to a baker father who recognised his son's talent, Nuijen was apprenticed at age twelve to Andreas Schelfhout ...
Born in Den Haag to a baker father who recognised his son's talent, Nuijen was apprenticed at age twelve to Andreas Schelfhout, a local artist. Between 1825 and 1829 he studied at the Den Haag Tekenacademie, under Bartholomeus Johannes van Hove. In his short lifespan Nuijen became a prolific painter of rural and marine landscapes, spending much time on the Normandy and northern French coasts. Here he fell under the spell of painters who were working in France, such as Richard Parkes Bonington (1802–1828) and Eugene Isabey (1803–1886), both of whom painted picturesque villages, Normandy harbours and seascapes, with a spontaneity Nuijen admired and adopted. His preoccupation with ruins is typically Romantic and his use of colour and texture is reminiscent of the watercolours of Turner. The Felix Meritis society of Amsterdam awarded him a medal in 1829 for his watercolour of a forest landscape. On completion of his tuition he travelled to Belgium, France and Germany, at times with his painting companion Antonie Waldorp [1803–1866]. Nuijen became a member of the Koninklijke Akademie in Amsterdam in 1836, and just before his death he married the daughter of Schelfhout, his former tutor. Nuijen died in Den Haag on 2 June 1839. Nuijen was unusual among Dutch painters of the period, his theatricality and liberal style contrasting with the near photographic depiction that was then the norm. King William II greatly admired Nuijen's work, and when he bought the "Shipwreck" in 1843 he already owned five other Nuijen paintings.
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Fredrik Marinus Kruseman was born to a family, which included a number of artists amongst their relatives, including Jan Adam Kruseman, Director of the Academy of Art in Amsterdam. This latter artist’s tutor had been Jan Reekers (1790-1858) and it was to him also that Fredrik was apprenticed. He subsequently studied under Nicolaas Roosenboom (1805-1880), the former pupil and son-in-law of Andreas Schelfhout (1787-1870) and in 1837 received instruction in Kleve from Barend Cornelis Koekkoek (1803-1862). Thus, by the age of twenty-one Kruseman could number two pillars of Dutch Romanticism amongst his teachers. In 1838 he was back in Haarlem and exhibiting in The Hague and Brussels, where his works were favourably reviewed. 1841 saw Kruseman move to Brussels. At that period, following the separation of Belgium from The Netherlands, the art market in Brussels was thriving in a country undergoing an economic revolution. Kruseman exhibited in neither the Salons nor the Living Masters Exhibitions between 1841 and 1857 from which can be inferred a relationship with an art dealer or a group of collectors; it was a prolific period for the artist. The years 1852-1856 saw Kruseman back in Haarlem before returning to Brussels for good. Here in 1851 he met Eugene Verboeckhoven (1799-1881), the great animal painter, and with whom he collaborated frequently over the following thirty years. In many ways an enigma, little is known of his life, he exhibited few works, yet Kruseman was clearly a successful and popular artist of the Romantic school. His works can be found in museums in: Maidstone; Amsterdam; Haarlem, Frans Hals Museum; The Hague; Hamburg; Kleve and Leipzig.
Fredrik Marinus Kruseman was born to a family, which included a number of artists amongst their relatives, including Jan Adam Kruseman, Director of the Academy of Art in Amsterdam. This latter artist’s tutor had been Jan Reekers (1790-1858) and it was to him also that Fredrik was apprenticed. He subsequently studied under Nicolaas Roosenboom (1805-1880), the former pupil and son-in-law of Andreas Schelfhout (1787-1870) and in 1837 received instruction in Kleve from Barend Cornelis Koekkoek (1803-1862). Thus, by the age of twenty-one Kruseman could number two pillars of Dutch Romanticism amongst his teachers. In 1838 he was back in Haarlem and exhibiting in The Hague and Brussels, where his works were favourably reviewed. 1841 saw Kruseman move to Brussels. At that period, following the separation of Belgium from The Netherlands, the art market in Brussels was thriving in a country undergoing an economic revolution. Kruseman exhibited in neither the Salons nor the Living Masters Exhibitions between 1841 and 1857 from which can be inferred a relationship with an art dealer or a group of collectors; it was a prolific period for the artist. The years 1852-1856 saw Kruseman back in Haarlem before returning to Brussels for good. Here in 1851 he met Eugene Verboeckhoven (1799-1881), the great animal painter, and with whom he collaborated frequently over the following thirty years. In many ways an enigma, little is known of his life, he exhibited few works, yet Kruseman was clearly a successful and popular artist of the Romantic school. His works can be found in museums in: Maidstone; Amsterdam; Haarlem, Frans Hals Museum; The Hague; Hamburg; Kleve and Leipzig.
A site dedicated to the most brilliant landscape painters
“Muhammad and the Ka’ba demonstrate the essence of the Islamic concept of space: the terrestral paradise, or the city, is ordered around a physichal structure (the Ka’ba) whose slightly off-center position indicates its role as a vessel. This organization indicates a non-figurative monumentality through which a divine order converges with an actual place. The islamic […]
19th century Screen with grotesques (5) Oil on canvas, 158 x 185 cm The analyzed screen is composed of five panels, each divided into two panels decorated with elements of the natural world on the upper level and grotesque decorations on the lower level. Grotesque is a type of ornamentation often used in painting, sculpture, and the minor arts, for example in ceramics and tapestries, developed in the late 15th century. The top five panels refer to as many famous fables of Aesop, i.e. the first panel represents the fable of the frogs ask a king, the second panel instead represents the roosters and the partridge, the third panel has as its protagonist the famous fable of The Hare and the Tortoise, while the fourth The Raven and the Fox, while the last panel probably represents the episode of The Fox and the Stork. The screen owes its name to its unique and ancient origin; after the discovery of these decorations in 1480 in the Domus Aurea of Nero, a palace buried for centuries, under the pretext of imitatio antiquitatis, they were re-offered in contemporary palaces. The palace of Nero was visited by many explorers, who descended there and had the impression of being inside a cave, which is why, as Benvenuto Cellini tells us, these particular decorations found there were called grotesques. The great success of the grotesques is attested by the decorations of Raphael in the Loggias of the Vatican, in the grotesque room of the Palazzo Te in Mantua or in the Grotesque room of the Castello della Manta in the province of Cuneo. With the end of Mannerism, the grotesque did not die out as a decorative system, but persisted in the form of an arabesque and then alternated as a decorative system of chinoiserie. The recovery of classical ornamental forms is evident in the five panels analyzed. Arrangement according to a geometric construction which is repeated with some variations, plant elements, animals and small objects are placed. Slender and fanciful plant shoots, colorful leaves and flowers on a monochrome background, give rise to frames, candelabras and weavings, while maintaining an aerial and light construction. The decoration present in the compartments examined can be compared to the works of Jean-Baptiste Pillement, an artist from Lyon (1728-1808) known for his magnificent and delicate paintings of harsh pre-romantic landscapes, appreciated in England in the 13th century, but it is through his engravings and ornamental designs “à la chinoiserie”, which became known by spreading the Rococo style throughout Europe. At the start of his career, he briefly worked in the Gobelins factory as a designer. Then, from 1745, he traveled to Spain, Portugal, Austria and even Vienna. He lived in London from 1754 to 1762, where he published his first collection of Chinese-inspired drawings. It was in 1778 that he was appointed "painter to Queen Marie-Antoinette" who commissioned him to produce numerous decorative paintings for the Petit Trianon at Versailles.
PARREIRAS by Antônio Saudade
The Dutch landscape painter, Pieter Lodewijk Francisco Kluyver (1817-1900), was a specialist in panoramic landscapes working in the area around Arnhem, Amersfoort, The Hague and Amsterdam. In terms of style and composition and his search for technical perfection, Kluyver's work is very much a continuation of the 17th century Northern Netherlandish tradition of landscape painting as exemplified, among others, by Jacob Ruysdael and Philips Koninck. The painting shown here is of particular interest given its daring use of colour perspective, Kluyver's use of light and the impressive clouded sky. The artist has enriched the foreground with figures which stylishly lead the viewer's gaze in the direction of the plain stretching out towards the horizon. This painting is a 'pièce de conversation' in the true sense of the word: it illustrates the artistic dialogue between the realists of the 17th century and their 19th century successors with a nicety that is rarely encountered. While the 17th century painters worked from memory, their 19th century admirers extended their painterly language through the fruits of the great 19th century advance of observation.
Fredrik Marinus Kruseman was born to a family, which included a number of artists amongst their relatives, including Jan Adam Kruseman, Director of the Academy of Art in Amsterdam. This latter artist’s tutor had been Jan Reekers (1790-1858) and it was to him also that Fredrik was apprenticed. He subsequently studied under Nicolaas Roosenboom (1805-1880), the former pupil and son-in-law of Andreas Schelfhout (1787-1870) and in 1837 received instruction in Kleve from Barend Cornelis Koekkoek (1803-1862). Thus, by the age of twenty-one Kruseman could number two pillars of Dutch Romanticism amongst his teachers. In 1838 he was back in Haarlem and exhibiting in The Hague and Brussels, where his works were favourably reviewed. 1841 saw Kruseman move to Brussels. At that period, following the separation of Belgium from The Netherlands, the art market in Brussels was thriving in a country undergoing an economic revolution. Kruseman exhibited in neither the Salons nor the Living Masters Exhibitions between 1841 and 1857 from which can be inferred a relationship with an art dealer or a group of collectors; it was a prolific period for the artist. The years 1852-1856 saw Kruseman back in Haarlem before returning to Brussels for good. Here in 1851 he met Eugene Verboeckhoven (1799-1881), the great animal painter, and with whom he collaborated frequently over the following thirty years. In many ways an enigma, little is known of his life, he exhibited few works, yet Kruseman was clearly a successful and popular artist of the Romantic school. His works can be found in museums in: Maidstone; Amsterdam; Haarlem, Frans Hals Museum; The Hague; Hamburg; Kleve and Leipzig.
Born in Den Haag to a baker father who recognised his son's talent, Nuijen was apprenticed at age twelve to Andreas Schelfhout ...
Born in Den Haag to a baker father who recognised his son's talent, Nuijen was apprenticed at age twelve to Andreas Schelfhout, a local artist. Between 1825 and 1829 he studied at the Den Haag Tekenacademie, under Bartholomeus Johannes van Hove. In his short lifespan Nuijen became a prolific painter of rural and marine landscapes, spending much time on the Normandy and northern French coasts. Here he fell under the spell of painters who were working in France, such as Richard Parkes Bonington (1802–1828) and Eugene Isabey (1803–1886), both of whom painted picturesque villages, Normandy harbours and seascapes, with a spontaneity Nuijen admired and adopted. His preoccupation with ruins is typically Romantic and his use of colour and texture is reminiscent of the watercolours of Turner. The Felix Meritis society of Amsterdam awarded him a medal in 1829 for his watercolour of a forest landscape. On completion of his tuition he travelled to Belgium, France and Germany, at times with his painting companion Antonie Waldorp [1803–1866]. Nuijen became a member of the Koninklijke Akademie in Amsterdam in 1836, and just before his death he married the daughter of Schelfhout, his former tutor. Nuijen died in Den Haag on 2 June 1839. Nuijen was unusual among Dutch painters of the period, his theatricality and liberal style contrasting with the near photographic depiction that was then the norm. King William II greatly admired Nuijen's work, and when he bought the "Shipwreck" in 1843 he already owned five other Nuijen paintings.
The Haarlem artist Cornelis Lieste painted landscapes in the best romantic tradition. He attended the Drawing Academy of B.C. Koekoek in Kleve and was a pupil of J. Reekers and N.J. Roosenboom. Sometimes he worked as an assistant to the painters Charles Rochussen, Hendrikus van de Sande Bakhuyzen and Eugène Verboeckhoven. In 1840 he made a study trip to Belgium and Germany (it is possible he attended the aforementioned academy in Kleve at this time). Between 1854 and 1856 he worked in Oosterbeek. Lieste namely painted winter landscapes with dramatic backlighting on wide expanses of ice, highly exaggerated by bare trees. He received various awards for his work and several major museums have Lieste’s work in their collection.
In order to avoid confusions I decided to make a single folder for all this big and amazing family of artists. I need to do more investigations in the future abaut every of these painters. A lot of new paintings are to be added here, especially from B. C. Koekkoek wich is one of my favorite painters of all times. Barend Cornelis Koekkoek (1803-1862) came to be known during his lifetime as the “Prince of Landscape Painting” and was by far the most applauded landscapist of his time and regarded as the founding father of Dutch romantic landscape painting. The recipient of endless awards and decorations, he counted among his clients King Friedrich-Wilhelm IV of Prussia, Tsar Alexander II, and King Willem II of the Netherlands. His father Johannes Hermanus Koekkoek (1778–1851) was a renowned marine painter, from whom he received his earliest tuition. His brothers Hermanus Koekkoek (1815–1882) and Marinus Adrianus Koekkoek (1807–1868) were both successful artists, the first as a painter of marine subjects and river scenes, the second as a landscapist. dan.servici: Willem Koekkoek (1839-1895) was grandson of Jan Hermanus Koekkoek (1778-1851) and nephew to Barend Cornelis (1803-1862) and Marinus Adrianus (1807-1868) while Johannes Barend Cornelis Koekkoek (1840-1912) was the son of artist Barend Cornelis Koekkoek Koekkoek, Barend Cornelis (Middelburg 1803 – Cleves 1862) Koekkoek, Hermanus (Middelburg 1815 – Haarlem 1882) Koekkoek, Hermanus Willem (Amsterdam 1867 -Amsterdam 1929) Koekkoek, Johannes Hermanus (Veere 1778 – Amsterdam 1851) Koekkoek, Johannes Hermanus Barend (Amsterdam 1840 – Hilversum 1912) Koekkoek, Marianus Adrianus (Middelburg 1807 – Amsterdam 1868) Koekkoek, Willem (Amsterdam 1839 – Niewer-Amstel 1885) Hermanus Koekkoek Sr. Johan Hermanus Barend Koekkoek
Fredrik Marinus Kruseman was born to a family, which included a number of artists amongst their relatives, including Jan Adam Kruseman, Director of the Academy of Art in Amsterdam. This latter artist’s tutor had been Jan Reekers (1790-1858) and it was to him also that Fredrik was apprenticed. He subsequently studied under Nicolaas Roosenboom (1805-1880), the former pupil and son-in-law of Andreas Schelfhout (1787-1870) and in 1837 received instruction in Kleve from Barend Cornelis Koekkoek (1803-1862). Thus, by the age of twenty-one Kruseman could number two pillars of Dutch Romanticism amongst his teachers. In 1838 he was back in Haarlem and exhibiting in The Hague and Brussels, where his works were favourably reviewed. 1841 saw Kruseman move to Brussels. At that period, following the separation of Belgium from The Netherlands, the art market in Brussels was thriving in a country undergoing an economic revolution. Kruseman exhibited in neither the Salons nor the Living Masters Exhibitions between 1841 and 1857 from which can be inferred a relationship with an art dealer or a group of collectors; it was a prolific period for the artist. The years 1852-1856 saw Kruseman back in Haarlem before returning to Brussels for good. Here in 1851 he met Eugene Verboeckhoven (1799-1881), the great animal painter, and with whom he collaborated frequently over the following thirty years. In many ways an enigma, little is known of his life, he exhibited few works, yet Kruseman was clearly a successful and popular artist of the Romantic school. His works can be found in museums in: Maidstone; Amsterdam; Haarlem, Frans Hals Museum; The Hague; Hamburg; Kleve and Leipzig.
