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Oswald Achenbach

In Dusseldorf, on February 2nd 1827, Christine Achenbach gave birth to her fifth child, her son Oswald. His father, Hermann, was a man-of-all-trades, a one-time manager of a metal factory, a beer brewer, an innkeeper and finally a bookkeeper. Oswald was destined, like his brother Andreas, who was almost twelve years older than him, to become one of the great nineteenth century German landscape artists and an important representative of the Dusseldorf School of Painting. Their painting style was so alike that they were often jokingly referred to them as the Alpha and Omega of landscape painting.

Fishermen with the Bay of Naples and Vesuvius beyond by Oswald Achenbach (1877)

When Oswald was still a young child the family moved to Munich where he attended primary school. During Oswald’s early childhood, the family moved to Munich where he attended primary school for a short period. In 1835, the family moved back to Dusseldorf and Oswald followed the artistic path of his brother and was enrolled in the elementary class of the Kunstakademie Düsseldorf (Dusseldorf Art Academy). In fact, he should not have passed the entrance criteria for the school as its rules laid down a minimum entry age of twelve. However, he was given a place and remained there until 1841. There is no record of why the academy relaxed the age criteria but it could well have been that they recognised a budding artist who had probably received some artistic tuition from Andreas. All that is known about his six years at the academy is gleaned from his sketchbooks which were full of nature sketches from the area around the city.

Summer Landscape on the Banks of the Alban Lake by Oswald Achenbach

There is no certainty as to why Oswald left the Academy at the age of fourteen but it is thought that he was unhappy with the very demanding Academy teaching. It was not just the Dusseldorf Academy which had their rigid formal academic training, the same was happening in all the European Art Academies and all fought hard to maintain their formal approach. Where the Academies held the ‘whip hand’ was the fact that they organized the big art exhibitions, at which artists were primarily able to sell their work. Artists who dared oppose the Academic style were unable to have their works exhibited, which meant their opportunity to sell their paintings was curtailed. However, artists were not prepared to bow to such pressure and soon began to make their feelings known.

Via Appia with the Tomb of Caecilia by Oswald Achenbach

After leaving the Academy, Oswald Achenbach joined two associations: the Verein der Düsseldorfer Künstler zur gegenseitigen Unterstützung und Hilfe (association of Düsseldorf artists for their mutual support and aid) and like his brother, the Malkasten, which was founded on 11 August 1848 with Andreas Achenbach as one of the original signatories of the founding document. These Associations jointly staged plays, organized music evenings and staged exhibitions. At many of these events, Oswald took an active part, directing, playing or staging plays. He was a staunch supporter of the Malkasten and remained a member until the end of his life.

Venice, a view of the Piazzetta, with the Biblioteca Marciana, Santa Maria della Salute and the Dogana, by Oswald Achenbach

In 1843, sixteen-year-old Oswald Achenbach began a prolonged journey of discovery which lasted several months. He travelled through Upper Bavaria and the North Tyrol of Austria, and arrived in Northern Italy, all the time sketching the landscapes he encountered. He returned to Italy on many occasions and Oswald is best remembered for his Italian landscape works. Despite Oswald’s dislike of how art was taught at the Dusseldorf Academy, the subject matter and the techniques he employed in his early landscape works were heavily influenced by the ideas being taught at the art academies of the time. Art historians confirm that the influence of Johann Wilhelm Schirmer, a tutor at the Dusseldorf Academy and Carl Rottman, the German landscape painter who completed many Italian landscape works, can be seen in Oswald Achenbach’s paintings. In Oswald Achenbach oil studies for his paintings during his Italian travels, he adhered very closely to the nature of the landscape and concentrated on the details of the typical Italian vegetation. In his early works, he showed less interest in architectural motifs and any figures in his depictions played a much smaller role than they would in his later, more mature work.

Evening by Oswald Achenbach (1854). Royal Collection, Windsor Palace.

Around 1847, Oswald received a commission to contribute some lithographs of his paintings, sketches, and other works for the satirical journals, Düsseldorf Monathefte and the Düsseldorf Monatsalbum. These journals were published by Heinrich Arnz, a well-known bookseller and printer who co-owned the Arnz & Co. with his brother Josef. Heinrich had a son, Albert, five years younger than Oswald. He was an artist who, like Oswald, studied at the Dusseldorf Academie and would often accompany him on some of his Italian trips. Heinrich Arnz also had a daughter, Julie, the same age as Oswald Achenbach and after a brief courtship the pair became engaged in 1848, and three years later, the couple married on May 3rd 1851. Between 1852 and 1857 the couple had four daughters, followed by a son in 1861. Their son, Benno von Achenbach, went on to become the founder of the carriage driving system named after him. In 1906 he became head of the Neuer Marstall in Berlin, which housed the Royal equerry, horses and carriages of Imperial Germany and in 1909, William II awarded him the hereditary nobility for his services to equestrian sport.

Not now having any connections with the Dusseldorf Academy, Oswald Achenbach had problems in trying to exhibit and sell his artwork. However, in 1850 he found an outlet in the form of the newly founded Düsseldorf gallery of Eduard Schulte. The gallery exhibited the works of artists who were independent of the Academy and as such, played an essential role in Achenbach’s early economic success. The Eduard Schulte gallery became one of the leading German galleries and later expanded, opening galleries in Berlin and Cologne.

Morning by Oswald Achenbach (1854). Royal Collection, Windsor Castle.

Whether by mutual consent or just fate but the two landscape painting brothers Oswald and Andreas seemed to choose different areas of Europe to depict in their paintings. The older brother Andreas although a large amount of his work was focused on seascapes and maritime depictions, he preferred his landscapes to focus upon the countryside of Northern Europe and Scandinavia, whereas Oswald preferred to produce depictions of Southern Europe, especially Italy.

Market Square in Amalfi by Oswald Achenbach (1876)

Oswald’s first major painting venture to Italy came in the summer of 1850. His companion for the adventure was Albert Flam, a German landscape painter, who had been taught by Andreas Achenbach and, like the Achenbach brothers, had been a student at the Dusseldorf Academy. They travelled to the French Cote d’Azur seaside town of Nice and then crossed over the Franco-Italian border to Genoa, the capital of the Italian region of Liguria and then they journeyed north to Rome. The pair went off on daily sketching expeditions to the Roman Campagna which was so popular with earlier landscape artists who were inspired by its beauty. Rome was a great place for artists to meet each other and during his stay in Rome Oswald met many including the Swiss Symbolist painter, Arnold Böcklin, Ludwig Thiersch, the German painter known for his mythological and religious subjects and especially his ecclesiastical art, and the landscape painter, Heinrich Dreber with whom he spent a long time in Olevano Romano, a commune which lies about 45 kilometres east of Rome. All artists tackle landscape painting differently and Ludwig Thiersch commented on how his friends differed. He said that Dreber drew elaborate pencil sketches, Böcklin simply let himself experience the environment and recorded relatively little in his sketchbook, while Achenbach and Flamm both painted oil studies outdoors. For Oswald Achenbach it was all about colour and achieving the correct tone by layering the paint. Form and the distribution of light and shadow was also very important to him, but less so was detailed topographical accuracy.

Study from Upper Italy, 1845, oil on paper mounted on cardboard. This study was made during Achenbach’s 1845 trip to Northern Italy.

By the start of the 1850’s, Achenbach’s paintings were well-known internationally. In 1852, aged 25, the Art Academy in Amsterdam had admitted him as a member. More fame came his way when several of his works were displayed at the Exposition Universelle of 1855 in Paris, all of which were praised by the art critics and the public alike. In 1859, he received a gold medal at that year’s Salon Exhibition in Paris. In 1861 he was granted an honorary membership to the St Petersburg Academy and in 1862 he was bestowed membership of the Art Academy of Rotterdam.

The Evening Mood in Campagna by Oswald Achenbach (1850.)

Despite leaving the Academy due to his opposition to the Academy’s method of teaching art, in March 1863, Achenbach became the Professor for Landscape Painting at the Düsseldorf Academy. This was a great honour and it signified an elevation in his social standing as well as financial security. It would also look to be a volte-face to his earlier opposition but the reason for him accepting the post could have been due to the departure of the director of the academy, Friedrich Schadow, four years earlier and the fact there had been conciliation between the Academy and the independent artists. The title, Knight of the Legion of Honour, was bestowed on Oswald by Napoleon III in 1863. Many more international honours followed. Oswald Achenbach continued to have his work exhibited at the Salon between 1863 and 1868

View of Florence by Oswald Achenbach (1898)

In the following years, Achenbach continued to make more trips and his last major trip was to Italy. It began in the early summer of 1882 and he visited Florence, Rome, Naples, and Sorrento. In 1884 and 1895 he took trips to Northern Italy. He had planned a trip in 1897 to Florence but cancelled it due to illness.

Oswald Achenbach died in Düsseldorf on February 1st 1905, one day before his 78th birthday. He was buried in the city’s North Cemetery.

Andreas Achenbach

When I looked at the life of the Hudson River School painter, James McDougal Hart, I talked about his time at the Dusseldorf Academy and how the Dusseldorf School of painting influenced him. The style of the Dusseldorf School of painting is characterised by its finely detailed, often overstated, and fanciful landscapes that more often than not have some kind of religious or symbolic stories depicted via these landscapes. The leading artists and members of the Dusseldorf style of painting reinforced the need for plein air painting, so that the artist could capture the true nature before returning to their studios and remaking more accurate visual conditions in their work.

Coastal landscape with city view by Anders Achenbach (1875)

The Dusseldorf School of painting principal period was one from 1826 to 1859 when German painter Friedrich Wilhelm von Schadow was the school’s director. He had been professor at the prestigious Berlin Academy of the Arts, and in 1826 he was made director of the Düsseldorf Academy of the Arts, which he reoriented towards the production of Christian art. Twelve-years-old, Andreas Achenbach, is thought to have been one of von Schadow’s earliest pupils at the Dusseldorf Academy. Let me introduce you to this artist, the German landscape and seascape painter in the Romantic style.

Watermill in Westphalia, (1863) by Andreas Achenbach (1847), The Walters Art Museum

Andreas was born on September 29th, 1815 in the Northern Hesse town of Kassel, Germany. He was one of ten children born to Hermann Achenbach and Christine (née Zülch). His father Hermann was a merchant. In 1816 he took over the management of a metal factory in Mannheim. Two years later, in 1818, he moved his family to St. Petersburg, where the father wanted to set up a new venture, that of his own factory, the money for this project emanated from his wife’s “dowry”. Whilst in St Petersburg young Andreas received his first lessons in drawing in a girls’ school. He excelled and his teacher is said to have certified that six-year-old Andreas ‘could already do everything’. His father’s venture failed and, in 1823, he was forced to take his family back to Germany and settle down in the small Rhine Province town of Elberfeld. where family members of the father lived. Andreas’ father then began to earn a living, working as a beer and vinegar brewer and took ownership of an inn, The Black Wallfish, at Jägerhofstraße 34. It became a regular for visiting artists.

On February 2nd, 1827 Christine Achenbach gave birth to her fifth child, a son Oswald who would, in later years, become as greater an artist as his brother Andreas.

Die alte Akademie in Düsseldorf by Andreas Achenbach (1829)

Andreas began his formal academic training, in 1827, at the age of twelve, when he enrolled at the Kunstakademie Düsseldorf under Wilhelm Schadow, Heinrich Christoph Kolbe and Carl Friedrich Schäffer. At an exhibition of the Kunstverein für der Rheinlande und Westfalen, which Schadow had co-founded, fourteen-year-old Andreas Achenbach achieved his first major success by being not only the youngest artist with a painting at the exhibition but also that one of his paintings, the painting Die alte Akademie in Düsseldorf, was sold. The setting of the painting was a view from a window in his parents’ apartment in the house Burgplatz 152. It was an unusual subject for Andreas to choose, considering what he had been taught at the Academy. The depiction is a simple restrained cityscape and such “reality” was deemed to be too banal and unartistic at the Academy, which under the leadership of Schadow was dominated by idealistic concepts. It is thought that this work resulted in Achenbach’s name being omitted from the Academy’s list of artists and not appearing until the winter term of 1830/1.

Große Marine mit Leuchtturm by Andreas Achenbach (1836)

In 1832 and 1833 he took an extended study trip with his father to Rotterdam, Scheveningen, Amsterdam and Riga. The journey of discovery gave him the ideal opportunity to study Dutch and Flemish landscape painting. The works of the seventeenth-century Dutch landscape painters Jacob Isaackszoon Ruisdael and Allaert van Everdingen were to particularly influence his art. Achenbach, as well as painting landscapes also painted seascapes, often depicting terrific storms and it is thought that the stories he heard from his family regarding their treacherous 1818 journey to St Petersburg remained in his mind for many years. His artistic breakthrough came at the 1836 General German Art Exhibition in Cologne at which his painting Großer Marine mit Lighthouse, was on show and up for sale. It was bought by the Prussian governor in the Rhine Province, Frederick of Prussia.

Storm on the sea at the Norwegian coast by Andreas Achenbach (1837) Städel Museum

Following his trips with his father, Andreas Achenbach made many painting trips on his own. In 1835 he made a major trip to Denmark, Norway, and Sweden. And the following year he journeyed to the Bavarian Alps and the Austrian Tyrol. After his tour of Bavaria and the Tyrol, he left Dusseldorf and settled in Frankfurt and, thanks to the assistance of his friend, the German history painter, Alfred Rethel, he was able to open a studio at the Städelsche Kunstinstitut. Despite having his own studio in Frankfurt, Andreas continued with his periodic travels. He returned to Scandinavia in 1839 taking a painting tour of Norway.

Clearing Up—Coast of Sicily by Andreas Achenbach (1847), The Walters Art Museum

He also took more trips to Italy during the period from 1843 to 1845 when he stayed in the Campagna and spent time on the Isle of Capri. and often returned to Scandinavia, often accompanied by his artist brother, Oswald. Ostend was a popular destination for the two brothers.

In 1846 Andreas returned to Dusseldorf and lived on the Flinger Steinweg, a then prosperous middle-class area of the city. He took over the running of his father’s brewery and inn. His father, despite being sixty-three, was glad to hand the business to his son so he could concentrate on being a freelance accountant. Andreas became a member of a number of artistic associations and was one of the founders of the newly formed Künstlerverein Malkasten (Artists’ Association Malkasten), often referred to as The Paint Box, which still exists today. He, together with other wealthy patrons, provided for the purchase of the former Estate of the Jacobi family in Pempelfort and its expansion as a permanent centre of the association, using considerable funds of his own. Andreas wholeheartedly immersed himself in Dusseldorf’s artistic life.

In 1848 Andreas Achenbach married Marie Louise Hubertine Catharine Lichtschlag and the couple went on to have five children, three daughters, Lucia, Karoline, and Helena and two sons, Gregor, and Maximilian. Maximilian studied to be an architect at Aachen university and graduated in 1871. After working as an architect for a few years, and against the will of his father, he gave up his architectural career, married, and began his vocal studies in Milan and Frankfurt. He took his stage name, Max Alvary. so as not to offend his father and compromise his father’s business. Later Maximilian moved to Weimar and performed at the court opera, where he was very successful. He later appeared at the Metropolitan Opera House in New York and Covent Garden Opera House in London.

In 1848 Achenbach was awarded the Belgian Order of Leopold. In 1853, he was made an honorary member of the Pennsylvania Academy of the Fine Arts, In 1861 the Order of St. Stanislaus, and in 1862 the Accademia di Belle Arti di Brera in Milan. More honours followed and in 1878 he was awarded the Commander’s Cross 2nd Class of the Royal Norwegian Order of Saint Olav. On 24 January 1881 he was admitted to the Prussian Order of Pour le Merite for Science and the Arts. In 1885 he became an honorary citizen of Düsseldorf, in whose northern cemetery he received an honorary grave, designed by the sculptor Karl Janssen.

Honorary grave of Andreas Achenbach with mourning angel of Karl Janssen, North Cemetery Düsseldorf

Andreas Achenbach died on April 1st 1910, aged 94. He was laid to rest in the Malkasten-Haus, where there was an opportunity to say goodbye to him for several days. The people of Düsseldorf queued to pay their last respects. The funeral procession moved off from the Paint Box heading to Achenbach’s final resting place at Dusseldorf’s North Cemetery and it was commented in the local media that it was akin to a state funeral of a prince.

In my next blog I will look at the life and works of Andreas’ brother, Oswald Achenbach.

Hudson River School – The Hart Family

Part 3. Julie Hart

“…Mrs. Julie Hart Beers Kempson became the only woman artist of the century to specialize in landscape. It is perhaps not surprising to find so few women landscapists, since the rigors of painting outdoors and the unseemliness of women engaging in this activity during the Victorian era acted as a deterrent…”

William H. Gerdts,
Women Artists of America 1707-1964 (Newark: Newark Museum, 1965)

The above extract is from the article in the 1965 Newark Museum catalogue Women artists of America, 1707-1964 that accompanied the exhibition. It was written by the American art historian and former professor of Art History at the City University of New York Graduate Center, William Gerdts.

Cabin in Autumn, Upper Hudson Valley by Julie Hart Beers (1910)

In my final blog regarding the artistically talented siblings of the American Hart family I want to look at the life and work of the youngest child of James and Marion Hart, Scottish immigrants who had settled in Albany, N.Y., in 1831. Julie Hart was born in 1835, in Pittsfield, Massachusetts, and was the only one of her siblings to have been born in America. She, as we have seen in the two previous blogs, had two talented artists as brothers, William Hart and James McDougal Hart. The world of Fine Art in America, in the nineteenth century, was a male-dominated institution. There were female painters but they were looked upon purely as hobbyists rather than being serious professional painters. It was believed by many men that women had better things to do than paint professionally – raising children, keeping house and looking after their hard-working husbands. Most art academies didn’t admit women, and neither did the art societies that linked artists with patrons, which was a prerequisite to the financial success of an aspiring artist. So, in the early part of the nineteenth century, women artists signed their work with just a first initial and a surname so as to conceal their gender, thus hoping that their ability as an artist would not be downgraded once the sex of the artist was known. For women to succeed in the world of Fine Art they needed both their family and/or financial backing to launch them professionally. Often, they were the sisters, daughters and wives of better-known male artist. There was no formal training for women at art institutions so once again they relied on family members or friends to help develop their talent. Julia Hart was fortunate enough to have her two elder brothers, who were aligned with the Hudson River School of art, to teach and mentor her and so, as a teenager, she became interested in plein air landscape painting. She was one of very few professional women landscape painters in nineteenth-century America

The Old Birch Tree by Julia Hart Beers (1876)

In 1865 the American Civil War had ended and the Reconstruction had begun. Americans unfettered by the trials of war were once again relishing the joys of tourism and travel. They would often explore the great landscapes. One such area was the banks of the Hudson River which had started its 319-mile journey from the Adirondacks towards its outflow between Manhattan and Jersey City. It was the upper reaches including the Adirondacks, Catskills and White Mountains which tempted both tourists and artists alike. The artists, who were looked upon as being part of the Hudson River School, wanted to capture the beauty on canvas and the tourists wanted pictorial mementos of their journeys. These areas of beauty were often steep-sided hills and mountains and for female artists who came to the region for some plein air sketching and painting, they had to overcome the challenge of decorous dressing versus suitable attire for their arduous painting trips. These women ventured on their own or alongside male relatives into the wilderness, painting the breath-taking scenery that inspired America’s first art movement. Julie Hart was one of those women.

Hudson River at Croton Point by Julie Hart Beers (1869)

Julie Beers married in 1853, when she was eighteen years old. Her husband, also a painter, was Marion Beers. Marion, like Julie’s brothers, helped teach his wife artistic techniques which were to serve her well in the future. In the mid 1850’s Julie, like her two brothers, relocated to New York city and set up a studio. Since her marriage, Julie signed all her paintings “Julie H Beers”
It is thought that Julie’s first exhibition was held at the National Academy of Design (NAD) in 1867, following which she had her paintings exhibited at the NAD annual exhibitions in each of the following twelve years. She also exhibited at the Boston Athenaeum in 1867 and 1868 and at the Pennsylvania Academy of Fine Arts in 1868.

Still Life with Fruit by Julie Hart Beers (1866)

Besides being a renowned landscape painter Julie was also a talented still life artist as can be seen by her 1866 painting Still life with Fruit.

Basket of Roses by Julie Hart Beers (ca. 1860’s).

Another of her still life paintings, completed around the same time was entitled Basket of Roses.

Her husband, Marion Beers died in 1876 and the following year Julie married Peter Kempson and the newly-weds moved to Metuchen in New Jersey. Julie Hart Beers Kempson proved that women landscape painters were the equal of men, despite the harshness of painting en plein air in the wild and often barely accessible landscapes along the Hudson River. Sadly her paintings did not receive affair and objective assessment during her lifetime and she was not truly valued in her own time, but notwithstanding that transgression, her talent and dedication as an artist which not only produced outstanding works of art, but also led the way for the female landscapists who would follow her.

I will end this blog as I started it, with a quotation. This one is from Jennifer Krieger, Managing Partner at Hawthorne Fine Art in New York City. Her article entitled Women Artists of the Hudson River School formed part of the catalogue which accompanies the 2010 exhibition, Remember the Ladies: Women of the Hudson River School, which was held at Cedar Grove, The Thomas Cole National Historic Site, Catskill, New York. She wrote about the trials and tribulations of female artists and their struggle to carry out plein air painting in remote areas of the Hudson River valleys. She wrote:

“…These artists managed to make their way through vast, unexplored stretches of the American landscape and to shimmy up trees (for better views) in spite of their long skirts. Rather than complain about all that society had placed in their way…… [They] were all intent on honoring the beauty of the natural world they had experienced so directly. Rather than to complain about all that society had placed in their way, women artists pushed forward to accomplish their goals. As a result of their determination, our own cultural topography has been immeasurably enriched…”

Julie Hart Beers Kempson demonstrated that women landscape painters were the equal of men, even given the hardships of painting outdoors. While largely undervalued in her own time, her talent and dedication not only produced outstanding works of art, but also broke important ground for the female landscapists who would follow her.

Hudson River School – The Hart family.

Part 2 – James McDougal Hart and family.

The Hudson River School, as it has come to be termed, was founded by the painter Thomas Cole around 1825. Cole believed that nature manifested to man the mind of the Creator and saw the artist as a prophet. The Hudson River School was so named because its proponents showed a fondness for depicting the scenery to be found in the countryside bordering the Hudson River. James McDougal Hart, like his brother William and his sister, Julie, were looked upon as second generation exponents of this type of landscape painting.

James McDougal Hart was born on May 10th 1828 in the East Ayrshire town of Kilmarnock. His father James was a schoolteacher and he and his wife took passage on the SS Camillus with their seven children and emigrated to America, landing in New York on February 12th 1830. After landing on American shore, the family located to Albany in upstate New York.

After completing his education, James, like his brother William before him, became an apprentice to a local sign and carriage maker and was employed to paint landscape scenes on carriage doors and banners. In 1851 James left America and travelled to Germany, visiting Munich, Leipzig and Dusseldorf, where he enrolled for a short period at the Dusseldorf Art Academy. Being a student at the Academy he was influenced by the Düsseldorf school of painting, which was a name given to a group of painters who taught or studied at the Academy during the 1830s and 1840s, a period when the Academy was directed by the Romantic painter Wilhelm von Schadow. The Dusseldorf School is typified by its keenly detailed yet imaginary landscapes, often with religious or allegorical stories set in the landscapes and he was a great believer in plein air painting and the use of a palette with comparatively subdued colours.

The Old Homestead by James McDougal Hart (1862)

The Düsseldorf School had a significant influence on the Hudson River School in the United States, and many prominent Americans trained at the Düsseldorf Academy such as George Caleb Bingham, Worthington Whittredge, and Richard Caton Woodville. Strangely, one of the great Hudson River painters, Albert Bierstadt, applied but was not accepted.

James Hart returned to Albany around 1853 and opened a studio where he painted and gave painting lessons. In 1857 he moved to New York City and he and his brother William opened up a studio. James became an associate member of the National Academy of Design in 1857 and a full member in 1859.

The Puzzle by Marie Theresa Gorsuch Hart

James Hart married fellow painter Marie Theresa Gorsuch in 1866 and the couple went on to have five children, three sons Robert Gorsuch Hart, William Gorsuch Hart and William Howard Hart and two daughters, Mary Theresa Hart and Letitia Bonnet Hart. Three of the siblings became artists in their own right.

Portrait of Adeline Pond Adams Seated in an Interior by William Howard Hart (1891)

William Howard Hart became a landscape and portrait painter. He studied in New York with J. Alden Weir at the Art Students League. Later, in the 1890’s, he went to Paris and studied under Gustave Boulanger and Jules Lefebvre at the Academy Julian.

The Basket of Roses by Letitia Bonnet Hart

Letitia Bonnet Hart, who became a painter known for her portrait and figure painting, was born in 1867. She exhibited in twenty-eight annual exhibitions from 1885 to 1914, including at the Woman’s Building at the 1893 World’s Columbian Exposition in Chicago. In 1901 she exhibited in the Pan American Exposition in Buffalo, New York and three years later, in 1904, her work was shown in the Louisiana Purchase Exposition in St. Louis,. She and her sister Mary Theresa Hart, shared a studio in NYC and later she went to live in Lakesville, CT.

Marie Theresa Hart was born in 1872 in Brooklyn, New York and studied with her father as well as with Edgar Melville Ward, the American genre painter, at the National Academy of Design. Between 1889 and 1895, she was enrolled in antique and life classes at the Academy and won several awards. She was best known for her floral painting and illustrations of violets and was also an accomplished portrait artist and art teacher.

One of James Hart’s favourite subjects was cattle, and this can be seen by his painting entitled The Coming Storm, where he depicted them huddled under trees, during a period of stormy weather.

Picnic on the Hudson by James McDougal Hart

The mid 1860’s was a time of wealth for some Americans. The Civil War had ended in 1865. The North in 1865 was an extremely prosperous region. Its economy had boomed during the war, bringing economic growth to both the factories and the farms. Since the war had been fought almost entirely on Southern soil, the North did not have to face the task of rebuilding. Men involved in transportation made large profits from the movement of supplies for the Union troops during the Civil War. The world of property development also created many wealthy people. It was known as the Gilded Age and was an era that occurred during the late 19th century, from the 1870s to about 1900. The Gilded Age was an era of rapid economic growth, especially in the Northern United States and the Western United States.

A Mid Summers Idyll by James McDougal Hart (1868)

James Hart later moved to Brooklyn and in the 1870s, he and his brother, William, opened studios in Keene Valley, NY, in the heart of the Adirondacks. For artists like James Hart and his brother William there was plenty of commissions to be had. The wealthy industrialists, now the nouveau riche of the post-Civil War society especially wanted to acquire works which depicted serene and relaxing rural scenes, scenes of picturesque tranquillity and they were eager to spend their money on such paintings as well as other paraphernalia of culture which they believed would allow them to become part of the cultured elite. The American author Sinclair Hamilton summed it up, observing:

“…both Hart brothers painted in a language intelligible for the artistically illiterate…”

James McDougal Hart Oil Painting – Hudson River Landscape

James went on to exhibit at the annual exhibitions of the National Academy, and also at the Pennsylvania Academy of Fine Arts, the Boston Athenaeum, the Centennial Exhibition in Philadelphia, the Boston Art Club, and at the Paris Expositions of 1867 and 1878.

Autumn Landscape by James McDougal Hart (1867)

James McDougal Hart died on October 24, 1901, aged 73. Like his brother William, he is buried at the Green-Wood Cemetery, Brooklyn, New York. Even if one cares little today for the style of painting carried out by James and William Hart, one is able to benefit a better understanding of the era in general, and of its fascination with the Hudson River School painters, through a study of their art work. . The paintings of James MacDougal Hart can be found in several public collections including the Metropolitan Museum of Art and the Brooklyn Museum.

Hudson River School – The Hart family.

Part 1. William Hart

“…Go first to Nature to learn to paint landscape, and when you shall have earnt to imitate her, you may then study the pictures of great artists with benefit . . . I would urge on any young student in landscape painting, the importance of painting direct from Nature as soon as he shall have acquired the first rudiments of Art…”

Asher Durand, a leading Hudson River School painter.
Letters on Landscape Painting (1855)

The Hudson River School painters produced the most richly colourful and remarkable landscape works of the 19th century. However, the term “Hudson River School” was a judgemental term used by European critics who were used to, and preferred, the revered realism of the French Barbizon School. The Hudson River paintings celebrated and honoured the rugged beauty of the American landscape. The works effectively communicated the natural grandeur of what was termed the New World. The paintings did not just depict scenes of the Hudson River Valley, but also depicted scenes from the Catskills, Adirondacks, White Mountains, the Maritimes, the American West and South and the second-generation painters even captured the beauty of their Canadian neighbour. In earlier blogs I have looked at the life and works of many of the Hudson River painters such as Frederick Church, Asher Durand and the man looked upon as the founder of the movement, Thomas Cole. In my next three blogs I am going to look at the members of a family whose art followed the concepts of this art movement. Let me introduce you to three members, siblings, of the Hart family.

James Hart and Marion Robertson lived in Scotland and the couple married on July 16th 1811, and they went on to have ten children. Of these, William Hart was born in Paisley, Scotland on March 31st 1823 and James McDougal Hart was born five years later on May 10th 1828. In 1830 James and Marion Hart and their seven children sailed for America, arriving in New York on February 12th aboard the SS Camillus. They later settled in Albany in up-state New York. At the time of their sea voyage, James was twenty-one months old and William was just a few months away from his seventh birthday. On December 28th 1834, their youngest child, a daughter, Julia Fenn Hart was born. She was the only child of the family to be born in America. Julia later changed the spelling of her name to Julie and dropped the middle name, Fenn, entirely.

If you read about William Hart you will see his name is often given as “William M Hart” or “William McDougal Hart” but some say the middle name “McDougal” was his brother’s middle name and not his. I have no idea of the correct name so I will just refer to him as William Hart. Above is a signature from one of his paintings and he has signed it “Wm” with the small letter “m” underlined which I believe is a shortened version of William and not the initial of a middle name. William’s artistic ability was all self-taught. He was apprenticed to a decorative painter in Albany, New York and worked in the local township of Troy. He was employed to paint coach panels and window shades with depictions of landscapes. Later William decided to set himself up as a portrait painter and travelled in search of commissions and spent several years in and around Michigan but returned to Albany in 1845 because of ill health and a paucity of business opportunities.

First Sketch from Nature by William Hart (1845)

To give some idea of the artistry of William Hart, one only has to look at one of his first landscape works. It is a prime example of his talent at using oil paints plein air which required a special talent. Prior to 1841, when collapsible paint tubes revolutionized plein air painting, pigments had to be mixed and blended by hand, and then carefully sealed in leather bladder bags for transport. It was a time-consuming and problematic task. However, William Hart probably was able to buy the collapsible tubes. The work was entitled First Sketch from Nature and this oil on canvas work was completed in 1845, by the twenty-two year old. On the reverse of the canvas is inscribed the words:

“…My first sketch from Nature in Oil Wm. Hart 1845 Normanskill near Albany N.Y…”

Wordsworth Manor (White Moss House near Grasmere) by William Hart, (1852,) Albany Institute of History and Art

His first art works were exhibited at the National Academy of Design in New York in 1848. Having gained the financial assistance of a patron, Doctor Ormsby, William Hart went abroad in 1849. He spent three years travelling around both England, but mainly his native Scotland before returning to Albany in 1852.

In the following year he took up residence in New York and at this time, all his art was focused on landscape painting and many would include studies of cattle. Cattle were a popular decorative addition in Hudson River School art, and many of the artists from that group included them in at least some of their landscapes. The inclusion of the animals was looked upon as being symbolic of man’s cordial rapport with nature.

Mount Madison from Shelburne by William Hart (1871)

In 1854, he opened up his own studio in the Tenth Street Studio Building, situated at 51 West 10th Street between Fifth and Sixth Avenues in Manhattan. It was the first modern facility in the city designed solely to serve the needs of artists. It became the centre of the New York art world for the remainder of the 19th century. In its initial years, Winslow Homer took a studio there, as did Edward Lamson Henry, and many of the artists of the Hudson River School, including Frederic Church, Lockwood de Forest and Albert Bierstadt.

Harvest Scene – Valley of the Delaware by William Hart (1868)

William soon became one of the most popular landscape artists of the late nineteenth century. He was elected an associate of the National Academy of Design in 1854 and an academician in 1858. On July 15th that same year William and his wife, Jennette had their first child, a daughter, Jessie.

Cows Drinking at a Pool by William Hart (1886)

William Hart was a founder of the Brooklyn Academy of Design and seven years later, in 1865, he became its first president. William Hart exhibited his work on a regular basis throughout the mid 1870’s in particular at the Brooklyn Art Association. He was also one of the eleven founding members of the American Watercolour Society, which was formed at a meeting at the Gilbert Burling’s studio in the New York University Building on December 5th 1866 and Hart was its president from 1870 to 1873. It is interesting to note that although the Society wished to keep the quality of its membership high, many of the top artists of the time were reluctant to join the new Society because women had been allowed membership.

White Pine, Shokan, Ulster County, New York by William Hart (1859)

William Hart also painted in watercolours and his 1860 watercolour and pencil on paper work entitled White Pine, Shokan, Ulster County, New York is a fine example of his work. It is a depiction of a white pine tree. Few works can surpass the immediacy and spontaneity of William Hart’s watercolour of a stately white pine tree, which he observed whilst visiting Shokan, New York, which lies on the eastern edge of the Catskill Mountains. Hart frequently went on long sketching trips and travelled throughout the Hudson River valley. He even went as far away as Maine and Lake Superior. As a talented draughtsman he experimented with different media and diverse styles. William Hart completed close to four hundred drawings and watercolours which in 2004 were donated to the Albany Institute and from looking at the collection one can see his love of nature and his determination to depict it accurately.

Naponock (Naponoch) Scenery, Ulster County, New York by William Hart (1883)

William Hart was also known for his remarkable etchings. In 1883 the Art Department of the New England Manufacturers’ and Mechanics’ Institute, Boston, held an important exhibition of contemporary American art. The 731 works on view were mainly American drawings and etchings one of which William M. Hart’s etching, Naponock (Naponoch) Scenery, Ulster County, New York.

Scene at Napanoch by William Hart (1883)

That same year Hart completed an oil painting depicting the same area which also included the obligatory cattle. It was simply entitled Scene at Naponock and can be found in the Metropolitan Museum of Art in New York, a direct bequest from Hart’s daughter, Jessie Hart White.

William Hart died at Mount Vernon, New York, in June, 1894, aged 71 and was buried at Green-Wood Cemetery, Brooklyn, New York.

Léon-Augustin Lhermitte.

The artist I am looking at today is the French painter Léon-Augustin Lhermitte. I suppose his work could be categorised by three artistic terms: Naturalism, Realism and Ruralism, as he will probably be remembered for his paintings depicting peasant farmers and their families at work in the fields. However, as you will find out, there were more strings to his bow.

Léon-Augustin Lhermitte was the only son of a local schoolmaster. He was born on July 31, 1844 in Mont-Saint-Père, a commune in the Aisne department in Hauts-de-France in north-eastern France, which lies about eighty kilometres north east of the French capital. The village was close to Chateau Thierry, a farming region close to the Champagne region around Rheims. This rural setting was to provide a wealth of ideas, inspiration, and realist subject matter throughout the artist’s life. As a young boy he enjoyed drawing and liked to copy art works he saw in popular illustrated magazines. He liked to look at books which had illustrations by earlier French painters, such as the Realists. Lhermitte’s father encouraged his son’s artistic hobby by encouraging him to sketch. Léon’s talent quickly became apparent to others. His father, proud of his son’s talent, presented his drawings to Count Alexandre Colonna-Walewski, who, at the time, was minister at the École des Beaux-Arts. Walewski was so impressed by the young man’s artistic ability that he offered him a scholarship of 600 francs and arranged for him to enrol in the École Impériale de Dessin in the studio of Horace Lecoq de Boisboudran. It was here Lhermitte was able to learn about his tutor’s unusual drawing method, which emphasised memorization.

Horace Lecoq de Boisbaudran was born in Paris. In 1819 he was admitted to the École des Beaux-Arts and exhibited at the Salon in 1831 and 1840. Later he became a professor at the academy. He taught drawing at l’École spéciale de dessin et de mathématiques, which was better known simply as the Petite École and now known as the École nationale supérieure des arts décoratifs. He wrote many books regarding drawing techniques including The Training of the Memory in Art and the Education of the Artist, and The Education of The Scenic Memory and The Training of the Artist. He influenced many great artists such as Rodin, Henri Fantin-Latour and Whistler to mention but a few. Lecoq Boisbaudran developed in his pupils a method of training memory. His students were required to copy progressively complex shapes (starting with straight lines and rectangles) and objects before drawing them from memory. The outcomes were then subjected to rigorous comparison with the model and mistakes corrected, over and over again, if necessary. Eventually, the students graduated to making careful analyses of masterpieces in the Louvre and then drawing them from memory when back in the studio. Horace Lecoq de Boisbaudrand theories had a profound effect on Lhermitte. From what Lhermitte learnt from his tutor, he was able to view a scene, notably a landscape scene, and then more fully execute the painting back in his studio. Whilst working at Horace Lecoq de Boisbaudran’s studio Lhermitte became friends with fellow artists, Jean Charles Cazin, Alphonse Legros and Fantin-Latour.

La têtée ou La jeune mère by Léon-Augustin Lhermitte (1901)

After attending the École Impériale, Lhermitte moved to Paris and shared an apartment with some of his friends. With the financial help Lhermitte had received from Count Walewski he enrolled at the École des Beaux-Arts and attended the 1863 Salon des Refusés. Although he was receiving tuition in painting at the École des Beaux-Arts his debut at the Salon was not one of his coloured paintings but a charcoal drawing, Les Bords de la Marne près Alfort (The Banks of the Marne near Alfort), which harked back to his days of draughtsmanship at the École de Dessin. In 1864 his painting, Violets in a Glass, Shells, Screen was shown at the Salon.

The Carpenter’s Workshop by Léon-Augustin Lhermitte (Charcoal on tinted paper)

In 1869 Lhermitte visited London for the first time and whilst there he met Alphonse Legros, a former pupil at the École Impériale de Dessin and he, like Lhermitte, had studied under Horace Lecoq de Boisbaudran. Lhermitte returned for a second visit in 1871 and it was then that Legros recommended him as an illustrator for Art in the Collections of England Drawn by E. Lie. More importantly, Legros introduced him to the art dealer Durand-Ruel, who following their meeting, agreed to sell several of his drawings. Later, in 1873 Durand-Ruel arranged for some of Lhermitte’s monochrome pictures to be shown at the Dudley Gallery for the first of the annual Black and White exhibitions and following that, Lhermitte became a regular participant.

Procession near Ploumanach by Léon-Augustin Lhermitte

In 1874 he received his first medal, third-class, at that year’s for three of his works, Le Benedicite (The Benedictine), Le Bateau (The Boat), Une Rue de Saint-Cyr (A Road in Saint-Cyr). It was in the summer of 1874 that Lhermitte decided to spend time in Brittany and soon he became fascinated with Breton culture, their celebrations, and the way the people, especially women, dressed in their Breton clothes. He enjoyed his time in the region, so much so, he returned there on numerous occasions during the next five years. It was a productive time for Lhermitte and he produced numerous depictions of Breton life.

Léon Augustin Lhermitte, An Elderly Peasant Woman, c. 1878

As well as producing colourful scenes of peasants in the fields he never lost his ability to draw with charcoal and one of his best loved is entitled An Elderly Peasant Woman which he completed around 1878 and now hangs in the National Gallery of Art in Washington. Lhermitte’s technique is quoted as: charcoal with black chalk, with stumping, scraping erasing and wetting, on wove paper. It is a dignified portrait of a humble person. His sitter has experienced a hard and rugged life as can be seen by her weather-beaten face and her crinkled but she has endured all the hardship. By his depiction of the woman, Lhermitte asks us not to feel sorry for her but admire her fortitude.

Market Day At Villenauxe La Grande by Léon-Augustin Lhermitte

In a letter, dated February 4th 1883, to his friend the Dutch painter and draughtsman, Anthon van Rappard, , Vincent van Gogh commented on the talent of Lhermitte. He wrote:

“…Something else — the boss of Black and White may be someone neither you nor I know. In reviews of exhibitions I see mention made of the work of Lhermitte, a Frenchman who does scenes from the life of fishermen in Brittany. It’s said of him that ‘he is the Millet and Jules Breton in Black and White’, and his name crops up again and again. I’d like to be able to see something by him, and have recently written about him to my brother, who has given me very good information several times in the past…”

La Vendange à Mont-Saint-Père by Léon-Augustin Lhermitte (1876)

In 1876, inspired by the wine making traditions of Champagne, Lhermitte completed La Vendange à Mont-Saint-Père which was exhibited at that year’s Paris Salon. It was a large, highly finished works showing amazing detail and observation. Throughout the 1870’s Lhermitte’s reputation continued to blossom as a painter in the realist tradition of Courbet. Such was his reputation that Edgar Degas wrote in his diary that he intended to ask Lhermitte to exhibit at the 4th Impressionist Exhibition in 1879 but it never happened.

Other prizes and honours came to Lhermitte throughout his long career, including the Grand Prix at the Exposition Universelle, 1889, the Diplome d’honneur, Dresden, 1890, and the Legion of Honour. He was also a founding member of the Société Nationale des Beaux-Arts.

La Fenaison (Haymaking) by Léon-Augustin Lhermitte (1908)

The subject matter of Lhermitte’s paintings rarely strayed from depictions of the peasants and rural life which he remembered from his youth. Without doubt, the most overwhelming influence upon his work was certainly the French Realist painter, Jean François Millet who, like Lhermitte, was equally skilled with pastel as with oil.

The Gleaners by Léon-Augustin Lhermitte (1887)

During the 1880’s Lhermitte embarked on a series of monumental works of rural life, influenced by two of his contemporaries, Jean-François Millet and Jules Breton. In this series of paintings he created beautiful light-filled works which mirrored Millet’s theme and reinforcing the self-esteem of peasant life and the splendour of the French rural landscape in the face of the invasion of modern technology. Lhermitte added realism and careful detail to his rural depictions and this would serve him well, stretching into the 1920’s.

Harvest by Léon-Augustin Lhermitte (1874) Musee des Beaux-Arts, Carcassonne,

In the 1914 book, Le Livre d’Or des Peintres Exposants (The Golden Book of Exhibiting Painters), there was a passage extoling the virtues of Lhermitte’s work:

“…All of his rustic scenes are full of observation and naturalness, executed in a manner which is less and less rugged, and a technique that gains in suppleness. The artist has now discovered his own easy and definitive way of expressing himself and appears in full possession of a subject, which he treats with ease and without weakness. He is the painter of the field worker and rustic landscapes, the theatre of his work. In this genre, he shows a true vision of personages and of the things that surround them…”

Laveuses au lavoir by Léon-Augustin Lhermitte

And again, Van Gogh wrote about Lhermitte:

“…If every month Le Monde Illustré published one of his compositions…it would be a great pleasure for me to be able to follow it. It is certain that for years I have not seen anything as beautiful as this scene by Lhermitte…I am too preoccupied by Lhermitte this evening to be able to talk of other things…”

A Rest from the Harvest by Léon-Augustin Lhermitte

Lhermitte exhibited his work at the Salon on a regular basis and his paintings became sought-after items. Despite that, Lhermitte was not satisfied with his success and strived for more recognition. He believed he just had to complete a work which would help him attain the level of success he craved for.

The Tavern Interior by Léon-Augustin Lhermitte (1881)

As a regular exhibitor at the Salon, Lhermitte’s paintings had become increasingly sought after, though, in his mind, he had not yet attained the level of success that he desired. He wanted to complete a work that would solidify his success and this came in the form of a series of several large-scale paintings portraying the life and people of his native village of Mont-Saint-Pierre. In 1881 he completed The Tavern Interior. This painting was the first piece in Lhermitte’s grand manner series. Before us, we see a long brown table around which gather a few men watching a woman pouring liquor.

The main figure is the man sitting at the right of the long table who is wearing a white shirt and brown pants, holding a spade in his left hand and in his right hand he holds a glass demanding a refill.. This is the peasant hero created by Lhermitte, known as Le Pére Casimir. It is believed that the painting was in fact based on a real figure, an old peasant named Casimir Dehan. Le Pére Casimir is one of the most important themes in Lhermitte’s grand manner series. Lhermitte depicts the old man with the spade in hand wearing torn and soiled clothing, and thus the artist reveals the status of the working class and the reality of their utter poverty. The weather-beaten face and complexion indicate the long hours spent in the fields with their laborious work, and yet the man’s bulky figure and his upright sitting posture with a spade in hand indicates his heroic temperament.

Paying the Harvesters by Léon-Augustin Lhermitte (1882)

In 1882, his masterpiece La Paye des Moissonneurs (Paying of the Harvesters) was shown at that year’s Salon and it achieved great acclaim from the critics. Thereafter followed numerous commissions. The painting was bought by the French State and housed in the Luxembourg Museum before being transferred to the Hotel de Ville at Chateau-Thierry. It is a classic example of Naturalism in the way Lhermitte accurately depicted the hard-nosed view of life in rural communities.

La Leçon de Claude Bernard by Léon-Augustin Lhermitte (1889)

Lhermitte received a commission in 1886 to paint a large group portrait featuring Claude Bernard, a French physician and physiologist, which would then be hung at the Sorbonne. The painting is entitled La Leçon de Claude Bernard and depicts him in his Laboratory at the Colle de France. He completed the painting in 1889 and was exhibited at that year’s Salon.

Paysannes et Vaches Devant le Village de Mont-Saint-Père, by Léon-Augustin Lhermitte (c.1887) Charcoal on paper.

In 1888 he was approached by Andre Theuriet, the French poet and novelist, who asked him to provide illustrations for his new book, La Vie Rustique. This was a major commission and Lhermitte was able to use the many drawings of peasant life he had already completed. In the introduction the author wrote:
“…We propose to trace the grand acts of the rustic drama: the soaring, the labour, the hay-making, the harvest, and the vintage; we wanted to describe the solitude of the farm, the business of the village life, the pleasures of Sunday, and the preoccupations of the weekdays …”

Andre Theuriat’s words sum up the art of Léon Lhermitte and his position in French art of the late 19th century.

Lhermitte was a founding member of the Societe Nationale des Beaux-Arts in 1890. In 1894 he was made an officer of the Legion d’honneur.
Lhermitte was elected to fill Jacques Henner’s chair in painting at the Institut in 1905. He kept exhibiting his paintings in the first decades of the 20th century, but many critics looked upon him and his works as a relic of a bygone era. However, his style undoubtedly had an influence on Socialist Realism.in later years. In the last twenty years of his life he worked much more in pastel, with his skill as a draughtsman ever in evidence. He went on to produce some sensitive portraits and peasant scenes which were reminiscent of his earlier and more powerful depictions, ones that van Gogh had cited as “an ideal”.

Léon Augustin Lhermitte died in Paris, on July 28th 1925, three days before his eighty-first birthday.

Museu Calouste Gulbenkian, Lisbon: 19th century gems – Part 2.

This is my last blog relating to Museu Calouste Gulbenkian and the paintings to be found in the Founder’ Collection and I have saved the best till last ! I wanted to take another look at the 19th century collection and choose some of my favourites and explore paintings in other museums which have a connection to those in the Lisbon museum.

The Reading by Henri Fantin-Latour (1870)

Henri Fantin-Latour was a prolific artist and completed many works including a number of portraits. In his 1870 work, The Reading, we have a dual portrait of two women in a domestic setting, both seated and one of them is depicted reading. The theme of reading was the subject of several of his well-known works. The painting is an example of intimism, a French term applied to paintings and drawings of quiet domestic scenes. It is an every-day scene with a sense of sober realism. It also introduces the observer into his favourite themes, poetic and dreamlike domestic environment with vaguely melancholic undertones. The lady on the left is Victoria Dubourg, a fellow painter whom he met at the Louvre whilst she was copying old masters. She became his wife in 1875.

Charlotte Dubourg by Henri Fantin-Latour (1882) Musée d’Orsay

Across from her, on the right of the depiction, is her sister Charlotte Dubourg. Charlotte Dubourg featured in a number of Henri Fantin-Latour’s paintings. This frequent collaboration between artist and muse gave rise to the speculation that Fantin-Latour was fascinated by Charlotte’s mysterious beauty and that there was an unspoken understanding between Fantin-Latour and his sister-in-law, maybe even more!

Two Sisters by Henri Fantin-Latour (1859)

A similar double portrait in an interior setting can be seen at the St Louis Art Museum. This painting was entitled Two Sisters and Fantin-Latour completed the work in 1859 when he was just twenty-two years old. Once again, we have a depiction of two young women in the intimate setting of their home. This double portrait shows the two younger sisters of the painter; Marie reads on the right while Nathalie embroiders on the left. Once again, the interior painting is comprised of subdued grey and brown tones which is counterbalanced by the colourful yarns on the embroidery table. There is also seems to be a disconnect between the two sisters. Had the artist intentionally depicted it in that way ? Natalie, instead of concentrating on her embroidery, has an unsettled expression on her face. Something is troubling her. It could be that her brother, through his depiction of her expression, is hinting about her depressive illness which would soon confine her to a mental institution for the rest of her life.

Boy Blowing Bubbles by Edouard Manet (1867)

The definition of a Vanitas painting is one that contains a single item, but more frequently, collections of symbolic objects, which remind us of the inevitability of death as well as the transience and vanity of earthly achievements and pleasures. For many artists it was a way to encourage the viewer to consider their own mortality and atone for their transgressions. The next painting I am going to talk about is classified as a Vanitas work but does not have the usual skull or fluttering candle which are often associated with the passing of life in such works. What it does have is a large bubble which is being blown by a young boy. It is the fact that as beautiful as the bubble may appear it will soon burst and the beauty will be forgotten. The painting is entitled Boy Blowing Bubble and it was painted by the French artist, Édouard Manet in 1867. It is now in the Calouste Gulbenkian Museum in Lisbon, which acquired it via André Weil in New York November 1943.

Soap Bubbles by Thomas Couture (1859) Metropolitan Museum of Art, New York

In 1850, Manet enrolled at the rue Laval studio of Thomas Couture and remained one of his students for six years. It could have been his tutor’s 1859 painting entitled Soap Bubbles which gave Manet the idea for this painting.

Portrait de Léon Leenhoff by Édouard Manet (1868).(Musée national, Stockholm)

The painting by Manet was one of a series which featured his illegitimate son Léon Koelin-Leenhoff. Suzanne Leenhoff, a Dutch-born pianist, had been employed as a music tutor for Édouard and his younger brothers Eugène and Gustave. Léon Koelin-Leenhoff was born on January 29th, 1852, the son of Suzanne Leenhoff. His birth certificate stated Suzanne as his mother and “Koella” as his father. The man named as Koella has never been traced and it is widely believed that Édouard was the boy’s father whilst some even point the finger at Édouard’s father, Auguste, Suzanne’s employer. Léon Koelin-Leenhoff was baptised in 1855 and became known as Suzanne’s younger brother. Édouard’s father, Auguste, died in 1862 and in October 1863 Suzanne and Édouard married. Léon featured in a number of Manet’s paintings.

Boy Carrying a Sword by Édouard Manet (1861) Metropolitan Museum of Art, New York

In 1861, Manet’s employed Suzanne’s nine year old son, Léon Leenhoff , for his painting Boy Carrying a Sword. He posed in a 17th-century Spanish infant costume, holding a full-sized sword and sword belt. The work can now be found at the Metropolitan Museum of Art in New York.

Le déjeuner dans l’atelier (Luncheon in the Studio) by Édouard Manet (1868)

Six years later, in 1868, Léon Leenhoff, now sixteen years of age, appeared in Manet’s painting entitled Le déjeuner dans l’atelier (Luncheon in the Studio). In the summer of 1868 Manet travelled to Boulogne-sur-Mer for his summer vacation, where he worked on this painting. Luncheon in the Studio was staged in the dining room of Manet’s rented house. The title of the painting almost hides the fact that it is a portrait of Léon Koélla Leenhoff. Léon is clearly the main character as he stands “centre stage” in the foreground, leaning against the table. The depiction of Leon is quite interesting. Manet has depicted him as the modern type of dandy, whose self-image plays between arrogance and aloneness. Elegantly dressed in a velvet jacket, confident of his superiority, cool with an air of indifference, he stands with his back to the others. He even avoids eye contact with us and so has an air of aloofness. But is that a fair reading of his character? Maybe his blasé expression hides a hint of sadness. Behind him we see an older man smoking, seated at the table enjoying a coffee and a digestif, and a woman preparing to serve hot drinks. At one time they were thought to have been Manet and his wife Suzanne but this assertion has since been overturned and the figures are now thought to have been servants. The painting is awash with still-life depictions, such as the weapons on the armchair on the left, a colourful pot of plants on the table in the background and the table with a plethora of food and tableware. The still-life accoutrements we see before us, in particular the partially peeled lemon and the placement of the knife over the table edge were reminiscent of Dutch still-life works of two centuries earlier. The painting is part of the Neue Pinakothek in Munich.

The Break-Up of the Ice by Claude Monet (1880)

There were a number of Monet paintings in the Founder’s Collection but one I especially liked was entitled The Break-up of the Ice. France, like most of Europe suffered one of the coldest winters on record in the latter months of 1879. Monet had been living in Vétheuil, a commune on the banks of the Seine, some sixty kilometres from the French capital from 1878 to 1881 along with his wife, Camille Doncieux and their two sons, Jean and Michel. They also shared their house with their friends, the Hoschedé family. During that period Monet completed more than one hundred and fifty paintings of the area. The winter of 1879 was so severe that even Monet found working outdoors almost unbearable. However, in early December, a sudden rise in temperature caused the ice on the Seine to crack. Alice Hoschedé, the wife of Monet’s friends, who along with her children were living in Monet’s house, described the resulting thaw as terrifying, as half the melted snow slid down from the hills onto the village. It was at this time that Monet painted scene after scene as the ice floes broke on the river and one of these works was The Break-up of the Ice, which he completed in 1880. In this grim and dismal landscape we see the thawing of the ice on the River Seine in January 1880.

Vetheuil in Winter by Monet (1879) Frick Collection, New York

It is one of a series of eighteen paintings by Monet at this location depicting the severity of the winter. His works were portrayals of the icy beauty of this wintry landscape. These paintings of ice floes chart Monet’s early fascination with capturing the same motif under differing conditions of light and at different times of day. Some, like the Lisbon painting, focused on the ferociousness of the weather and how it can devastate nature as depicted in the fallen trees, while others focused on the beauty of the winter landscape. Monet must have witnessed first-hand the devastation when the frozen Seine river thawed, dislodging large ice floes that inundated the countryside and damaged bridges The finished painting was almost certainly completed in Monet’s studio after having completed a number of plein-air sketches. Look at the simplicity of the depiction of the ice flows using a series of short brushstrokes.

The Break-up of the Ice (La Débâcle or Les Glaçons) by Claude Monet (1880) University of Michigan Museum of Art.

An example of a more peaceful winter landscape at the same spot was also completed in 1880 and was also entitled The Break-up of the Ice and this painting can be found at the University of Michigan Museum of Art. In this painting a sweeping winter river scene opens up from the foreground and sweeps away towards the left. Ice floes dot the river surface and snowy hills frame trees that stand along the riverbank in the middle distance. The palette of this painting is restricted to mauves, blues, greens, and whites.

Lady and Child asleep in a Punt under the Willows by John Singer Sargent (1887)

John Singer Sargent moved from Paris to London in the summer of 1885 as he was struggling to attract patrons, and so he turned to his friends and family for portrait commissions. Singer Sargent may have been introduced to the cousins Robert and Peter Harrison by Alma Strettell as she was a close friend of Sargent and, in 1877, he had illustrated her book, Spanish and Italian Folk Songs. Robert Harrison, a stockbroker and musical connoisseur had married Helen Smith, a daughter of a wealthy Tyneside businessman and politician and the couple went to live Shiplake Court, in the affluent London district of Henley-on-Thames. The Harrisons, like many of Sargent’s patrons, formed part of the high society of late Victorian Britain. Amongst the Gulbenkian’s Founder’s Collection there was an 1887 painting by John Singer Sargent entitled Lady and Child Asleep in a Punt under the Willows. In the summer of 1887 Sargent was invited by his friends Robert and Helen Harrison to spend the season at Shiplake Court. In the painting we see the sleepy figures of Helen Harrison and her son Cecil lying in a punt, under the shade of a willow tree. They are being gently lulled by the movement of a barge which had just passed by. This work is Impressionist in style. Sargent’s Impressionist period came about in the late 1880’s. The painting falls into the category dolce far niente which means the sweetness of doing nothing, a pleasant relaxation in carefree idleness which describes many of his works between 1887 and 1889.

A Backwater at Henley by John Singer Sargent (1880) Baltimore Museum of Art

Another similar work by Singer Sargent is his 1880 painting entitled A Backwater at Henley which is housed at the Baltimore Museum of Art.

Les Bretonnes au Pardon by Pascal Dagnan-Bouveret, (1887)

The last painting I am showcasing that hangs in the Founder’s Collection is Les Bretonnes au Pardon (Breton Women at a Pardon). It is a fine example of Naturalism in which subjects were connected with the minutely detailed description of urban and rural life. It was an art form which was very popular in the late 1880’s and this work achieved great success for the artist at the 1889 Salon. When I saw this work, I thought it was by Gaugin but in fact the artist, who painted it in 1887, was the French painter, Pascal Dagnan-Bouveret. It is a beautifully crafted depiction of a rural tradition, but what also fascinated me was, what is or was a Pardon? The depiction is termed ethnographic, meaning it is relating to the scientific description of peoples and cultures with their customs, habits, and mutual differences.

**The Pardon at Kergoat, portrayed by Jules Breton (1891) Musée des Beaux-Arts Quimper.** The pardon at the Chapel of Kergoat in Quéméneven was one of the most popular pardons because of the virtues of the waters from the nearby fountain. People came from all over Cornouaille, as shown by the presence of people from the Bigouden area. The artist, overawed by the number of beggars and the fervour of the pilgrims, conveys the movement of this procession as it goes around the monumental chapel.

The word “Pardon”, coming from the Latin verb perdonare, to forgive, and is a Breton form of pilgrimage and one of the most traditional expressions of popular Catholicism in Western Brittany. It dates back to the conversion of the country by the Celtic monks, It is a penitential ceremony. A Pardon occurs on the feast of the patron saint of a church or chapel, at which an indulgence is granted. There are five distinct kinds of Pardons in Brittany: St. Yves at Tréguier – the Pardon of the poor; Our Lady of Rumengol – the Pardon of the singers; St. Jean-du-Doigt – the Pardon of fire; St. Ronan – the Pardon of the mountain; and St. Anne de la Palude – the Pardon of the sea and they all occur between Easter and Michaelmas, a period between March and October. Pilgrims arrive at these Breton Pardon ceremonies dressed in their best costumes which is probably why they make ideal subjects for artists. The day is spent in prayer and after a religious service a great procession takes place around the church. The Pardon in Brittany has practically remained unchanged for over two hundred years. The ceremony is not one focused on feasting or revelry but one focused on veneration where young and old connect with God and his saints in prayer. Brittany at the time was a favourite location for artists such as Paul Gaugain,
Léon Augustin Lhermitte, Jules Adolphe Aimé Louis Breton and Émile Bernard who were beguiled by the family rituals of the local peasants.

The Pardon in Brittany by Pascal Dragnan-Bouveret (1886) Metropolitan Museum of Art, New York.

It is known that Dagnan-Bouveret used photographs he had taken at the ceremony in the Finistère town of Rumengol in 1886 as an aid to his finished works. He also used portraits he had made of some of his models.
Pascal Dagnan-Bouveret completed a number of paintings featuring “The Pardon” one of which, The Pardon in Brittany, which is a truly amazing, almost photrealistic depiction of the ceremony. This painting is housed at the Metropolitan Museum of Art in New York. Before us we see penitents wearing traditional regional dress proceeding with an air of solemnity as they joylessly parade around a church. Some of the pilgrims go barefoot or kneel in an expression of remorse. What is quite interesting is that on the reverse of the canvas were drawings of his wife which the artist later used for the young woman in the foreground. When the picture was shown at the 1887 Salon and the 1889 Paris Exposition Universelle, it was hailed a great success by art critics saying they were astounded by its meticulous details. This is almost certainly down to the artist’s use of photographs to help him with the work.

That was final look at the paintings of the Founder’s Collection at the Museu Calouste Gulbenkian in Lisbon. If we ever have the travel restrictions lifted and you find yourself in the Portugeuse capital make sure you pay this museum a visit. You will not be disappointed.

Museu Calouste Gulbenkian, Lisbon: 19th century gems – Part 1.

Of all the paintings on view at the Founder’s Collection of the Museu Calouste Gulbenkian in Lisbon I think my favourites where the section featuring the 19th century works.

The Wreck of a Transport Ship by Turner (1810)

The first work I have chosen is by the English painter Joseph Mallord Turner and is entitled The Wreck of the Transport Ship which he completed around 1810. The painting is one of a series of large-scale depictions carried out by Turner in the first decade of the 19th century which were all about natural disasters at sea caused by storms. Shipwrecks and other disasters at sea were a popular theme in Romantic painting. They revealed the unrelenting and brutal forces of nature which were constant dangers to those who set off on a sea voyage. The inspiration for this work has been much debated. At one time it was thought that Turner painted the work the same year the vessel, Minotaur was wrecked in December 1810, as a result of a navigational error in a gale on the Haak Sands off the mouth of the Texel, with around 370 of her crew lost, including Captain Barrett. However, this idea was discounted when billing records showed the sale of the painting to Charles Pelham, 1st Earl of Yarborough, in April 1810, some several months before the sinking of the Minotaur.

The Shipwreck by Joseph Mallord Turner (1805) (Tate Britain, London)

The popular thought is that Turner was influenced by an earlier painting of his, The Shipwreck, which is part of the Tate Britain collection in London, and one he completed in 1805.

A Road at Ville d’Avray by Jean-Baptiste Camille Corot (1874)

Calouste Gulbenkian was an avid collector of works by Jean-Baptiste Camille Corot and the one I especially like is entitled A Road to Ville-d’Avray which he painted in 1874, the year before his death. In the work we see the road leading to the railway station at Ville d’Avray, a village in the western suburbs of Paris, located twelve kms from the centre of the French capital. It was a very small village where Corot spent long periods of his life at a summer house which was purchased by his parents in 1817. This small hamlet, as it was then, was one of the artist’s greatest sources of inspiration. Corot’s paintings of Ville d’Avray are thorough observation of nature. They are closely associated with plein air painting although sketches first made outdoors were then usually finished back in his studio utilising both his memory and his imagination. It is thought that Corot positioned the figures we see in the depiction, at the end, to act as a balancing mechanism for the finished work. Jean-Baptiste Corot died in Paris of a stomach disorder on February 22nd 1875, aged 78 and was buried at Paris’ Père Lachaise Cemetery.

Another painting by Corot which I liked was his work entitled Bridge at Mantes which he completed around 1870. The outlying towns and villages of the French capital were one of Corot’s favourite subjects throughout his career and many depictions of them appear in many of his works. Mantes-la-Jolie was one of Corot’s favoured places to paint. The town is situated a few kilometres to the north-east of Paris and the depiction we see before us is as seen from the Île de Limay on the Seine. Corot painted many views which incorporated the old medieval bridge, Le pont de Mantes, and the Gothic cathedral. Corot had begun a series of works around the middle of the nineteenth century and completed the last one around 1870. This painting was one of his later works to feature the town. It is both a clear and natural looking depiction which Corot achieved by the use of monochrome shades and the way he reduced the use of colours. The painting shows soft fluent brushstrokes and this fluidity makes it seem as if the leaves on the trees are being moved by a gentle breeze and the painting displays a freshness that floods all of the senses. Corot’s art in this period is magical and as he himself declared, sensations captured in the open air are reproduced without ever losing sight of the importance of the first impression.

I have always liked the rural realism paintings of Jean-François Millet such as The Gleaners, The Angelus and The Winnower and so to see something quite different from the French artist at the museum was of great interest. The painting was Winter which he painted around 1868. The depiction in the painting, Winter, is of grim harshness, and exudes an air of melancholia. We see before us a frozen wintry landscape which disappears into the distant horizon. The tiny figure of a man can be seen to the right of the haystack and the inclusion of the figure enforces a sense of loneliness in this bleak expanse of the frozen plain. It forces us to think about man’s relationship with nature and his ever-changing environment. This sense of cold desolation has been achieved by Millet through his constrained use of colours. Before us we see a vision of a grey, hostile, and unwelcoming world and it is this sombre intensity which dominates the entire surface of the canvas.

Haystacks Autumn by Jean-François Millet (c.1874) Metropolitan Museum of Art, New York.

In 1868, the wealthy French industrialist Frédéric Hartmann had given Millet a twenty-five thousand francs commission to paint a series of four paintings depicting the seasons. A painting from that series, Haystacks: Autumn which Millet went on to paint in 1874 and which now hangs in the Metropolitan Museum of Art in New York, bears a resemblance to his aforementioned Winter

The Town of Thiers by Théodore Rousseau (1830)

Étienne Pierre Théodore Rousseau was just eighteen years old when he completed his 1830 painting entitled The Town of Thiers. He had visited the Central French Auvergne town in the summer of 1830 and during his stay completed many works depicting the commune. The depiction reveals the scene of a medieval town with its gathering of houses which ascend the steep slope that culminates in the Church of St. Jean, the towns highest point. The pale blues of the background signify the mountain range of the Puy-de-Dome. Rousseau’s biographer, Alfred Sensier, believed that the style used in the series of work Rousseau completed in this region were to forever become his own style.

The Fishermen by Constant Troyon (c.1850)

My last offering for this first look at the 19th century paintings is one by the Barbizon school artist, Constant Troyon. Troyon was born in Sèvres a southwestern suburb of Paris in 1810. The painting, The Fishermen, which he completed around 1850 was the integration of an imported pictorial style from the Dutch Golden Age. It was recorded that Troyon visited the Low Countries in 1847 and was influenced by the great Dutch artists, such as Albert Cuyp and Paulus Potter and such influence can be seen in this work in a group of animals seen on the plain somewhere in the region of Normandy. In the middle ground we see ancient oaks set against a cloud covered sky. It is a balance of Romanticism and Naturalism.

In my final blog about the paintings in the Founders Collection of the Museu Calouste Gulbenkian I will be looking at more of the nineteenth century paintings on display.

Museu Calouste Gulbenkian, Lisbon. Part 2: 18th century gems.

Peacock and Hunting Trophies by Jan Weenix (1708)

The first 18th-century painting housed in the Museu Calouste Gulbenkian which I want to talk about is a still-life, entitled Peacock and Hunting Trophies, by Jan Weenix. Jan Weenix or Joannis Weenix was thought to have been born in Amsterdam sometime between 1640 and 1649. The exact date is unknown but at the time of his marriage, in 1679, to Pieternella Backers, he gave his age as “around thirty”. The couple went on to have thirteen children. He received his education in art from his father, Jan Baptist Weenix and his cousin, Melchior d’Hondecoeter. The Weenix family lived in a castle outside Utrecht, but his father died young following a series of personal financial disasters that rendered him bankrupt. Jan Weenix was a member of the Utrecht guild of painters in 1664 and 1668. The subjects for his paintings were varied but we remember him best of all for his paintings of dead game and of hunting scenes. In this large oil on canvas painting (200 x 195 cms) we see various hunting trophies and a peacock framed by a landscape in the background. The main depiction in this work is the lifeless arrangement of the swan which imitated the widely used representation for such paintings. Behind the dead swan, we have a large urn decorated with bas-reliefs. Bas-relief being a French term from the Italian basso-relievo (“low relief”), which is a sculpture technique in which figures and/or other design elements are just barely more prominent than the overall flat background. The 3-D trompe l’oeil effect of the dead game “hanging over” steps was often used in this kind of depiction and adds to the beautifully crafted work. The painting dates back to the period 1702 to 1712 when Weenix had been commissioned to paint twelve works featuring hunting motifs for the Elector Palatine Johann Wilhelm for his castle of Benberg. They were to illustrate the favourite pastime of the elites. It was all about social power for the hunting of certain species was a special privilege granted solely to the nobility.

The Embarkation for Cythera (Louvre version) by Antoine Watteau (1717)

The French term, fête galante, is used to describe a type of painting that first came to the fore with Antoine Watteau. They are representations in art of elegantly dressed groups of people at play in a rural or parklike setting. This painting genre began with Watteau’s famous painting, The Embarkation for the Island of Cythera which he submitted to the Academy as his reception piece in 1717. However, when Watteau applied to join the French academy there was no suitable category for this type of work and so, rather than reject his application which was described as characterising une fête galante, the academy simply created one!

Fête Galante by Nicolas Lancret (c.1780)

In the Founder’s Collection at the Museu Calouste Gulbenkian in Lisbon, there was a painting by Nicolas Lancret, entitled Fête Galante which he completed around 1730. Like most Fête Galante works it is small, measuring just 65 x 70 cms. The painting was once part of the Collection of Frederick the Great, King of Prussia, an admirer of Watteau and Lancret and who had built up a collection of twenty-six of the latter’s works. The painting was acquired by Gulbenkian in 1930. Lancret had a habit of sketching individual figures and later incorporating them into his final work.

An example of this is the preliminary sketch of the reclining man, dressed in brown, we see at the bottom left of the Fête Galante painting. This sketch can be found at the Ackland Art Museum, which is part of the University of North Carolina, at Chapel Hill.

Portrait of Tomas Germain and His Wife by Nicolas de Largillièrre (1736)

The 18th century works in the Founder’s Collection feature many portraits. One of my favourites was one by Nicolas de Largillièrre entitled Portrait of Tomas Germain and His Wife which he completed in 1736. Largillière was a French-born and Antwerp-trained artist who spent time in London between 1665 and 1667, and again from 1675 until 1679 when he worked for the English artist Sir Peter Lely. However, in England, at the time, there was widespread anti-Roman Catholic sentiment and he, being a Catholic, decided to return to France and find work in Paris. He did return to England for a 12-month stay in 1688 having received a commission to paint portraits of King James II and his wife, Queen Mary of Modena. The two figures depicted in the painting above are King Louis XV of France’s famous goldsmith Thomas Germain inside his workshop at the Louvre along with Anne-Denise Gauchelet, his wife.

Thomas Germain became known as The Prince of Rocaille. Rocaille was a French style of decoration, with a profusion of curves, counter-curves, undulations, and elements which were modeled on nature, and which played a part in furniture and interior decoration during the early reign of Louis XV of France and was prevalent between 1710 and 1750. It was the start of the French Baroque movement in furniture and design, and also signaled the beginning of the Rococo movement. Germain was appointed sculpteur-orfèvre du Roi (sculptor-goldsmith to the king). Look carefully at the shelf in the right background. On it are several models, which were used as patterns for tableware pieces created by Germain, and later his son, François-Thomas Germain. Such tableware adorned many tables in the European and Russian royal courts. Germain is seen in the painting pointing proudly to the shelf and a very ornate silver candlestick with satyrs on its shaft. This model of a candelabrum would result in a series of identical pieces delivered in Lisbon in 1757 for the court of King Joseph I of Portugal, which was sent by his son François-Thomas Germain.

In my next blog I will look at some of the 19th century paintings which adorn the walls of the Founders Collection of the Museu Calouste Gulbenkian.

Museu Calouste Gulbenkian, Lisbon. Part 1: 17th century gems.

In my last blog I looked at the Gulbenkian Museum in Lisbon and talked about its founder Calouste Gulbenkian. In my next couple of blogs, I want to talk about my favourite paintings I saw in the Founders Collection of the museum. I have to admit when I entered the building and followed the path you had to take it was all about ancient pieces of porcelain, furniture and jewellery – all good, but not what I was interested in, and I was starting to wonder if there were any paintings but I finally came across the rooms where they hung.

View from the Coast of Norway or A Stormy Sea Near the Coast by Jacob van Ruisdael

My first painting I want you to see is one by Jacob van Ruisdael. I have always loved the works by this seventeenth century Dutch painter especially his rural landscape paintings. The one on show at this gallery was a seascape entitled View from the Coast of Norway or sometimes referred to as A Stormy Sea Near the Coast, which he completed around 1660. It was a painting that Gulbenkian acquired in 1914. I had not realised that Ruisdael had actually completed forty to fifty seascapes. Once again he has adhered to his successful formula of having two-thirds of the work occupied by the threatening sky and by doing so, he has added a palpable melodramatic energy to the work. In the mid-ground we see boats struggling against the force of nature as they are pounded by ferocious seas and bent over by gale-force winds. Oddly shaped rocks, which have been eroded by past storms, lie in wait and we cannot help but wonder about the fate of the boats. Ruisdael’s inclusion of the rocks further adds to the atmospheric ferocity of the depiction.

Another painting by a seventeenth century Dutch artist which I liked was simply entitled Dutch Landscape, a work by Jan van der Heyden. Van der Heyden, the third of eight children, was born on March 5th 1637 in Gorinchem, a city and municipality in the western Netherlands. His father was by turns an oil mill owner, a grain merchant and a broker. The family moved to Amsterdam in 1646 and van der Heyden’s father acquired local citizenship. Jan van der Heyden himself would never acquire Amsterdam citizenship. Initially his painting genre was still-lifes but later this changed and he became known for his townscapes featuring groups of buildings. . Van der Heyden, although a talented artist, was better known in his own day as an inventor and engineer. One of his most famous accomplishments was that he designed and implemented a complex system of lighting for the streets of Amsterdam, which was utilised from 1669 until 1840 and which was also adopted by other Dutch cities and even used abroad.

Van Heyden would travel extensively in Flanders and Holland as well as the Rhineland towns of Germany close to the Dutch border constantly looking for inspiration for his cityscapes. In his early seventeenth century work, Dutch Landscape, we see depicted the Dutch town of Zuylen which lies on the banks of the River Vecht, close to the city of Utrecht. One can see in this work, like many of his other cityscapes, that his main interest is not one of nature but on architecture and his painstakingly accurate way in which he depicts the facades of buildings, especially when we look at the Gothic church on the left of the painting. There is nothing flash about this depiction. It is not ablaze with colour. It is a simple yet sober interpretation of everyday life. It is thought that another artist executed the figures in the painting.

Portrait of San Andriedr. Hessix by Frans Hals

Among Gulbenkian’s seventeenth century paintings on show at the Founder’s Collection there were a number of portraits. I particularly liked Portrait of San Andriedr. Hessix by Frans Hals. It is an oil on canvas depiction of Sara Andriesdr (daughter of Andries) Hessix who was married to Michael Jansz. Van Middelhoven, a pastor from the city of Voorschoten, near Leiden, and another of Frans Hals’ sitters.

Michiel Jansz van Middelhoven, aged 64 in 1626, by Hals (confiscated during WWII and whereabouts unknown)

Both portraits formed a pair which were completed around 1626 to celebrate the 40th anniversary of the couples wedding which took place on 1586. Unfortunately, the portrait of the pastor was confiscated by the Germans during World War II and has never been recovered. Frans Hals methodology regarding the portrait of the woman would be repeated in many of his works.

It is an accurate resemblance of the sixty-year-old woman. She has a serious expression on her face. There has been no attempt by the artist to “beautify” the lady. The way we see her, turned in three-quarters and against a plain dark background, is in the finest Dutch tradition of portraiture.

Portrait of an Old Man by Rembrandt (1645)

Another portrait which caught my eye was one by the Dutch Master, Rembrandt Harmensz van Rijn. It was his 1645 painting entitled Portrait of an Old Man. The portrait which was once owned by Catherine the Great came into the possession of Gulbenkian in 1930. Nobody knows for certain the identity of the sitter although many theories abound. The man is dressed in expensive clothes but this does not necessarily indicate his wealth, occupation or social status as they could well be props belonging to the artist’s studio and simply used as a decorative effect. Rembrandt is known for his penchant for portraits of people in their old age and has appeared as an old man in a number of his self-portraits. It is a beautifully crafted work. Look at the skin texture of the man’s hands as he holds on to his walking cane. It is both a complex and emotional depiction. Rembrandt has concentrated on a palette of browns with the odd flash of gold and the painting is enhanced by the artist’s use of chiaroscuro. The light homes in on the man’s hands and face and in some way elicits a feeling of tragedy – the tragedy of ageing.

Portrait of a Man by Anthony van Dyck (1621)

My final look at the seventeenth century paintings I saw in the Founders Collection in the Museu Calouste Gulbenkian was another portrait painting, this time one by Anton van Dyck. The title given to this 1621 work was simply, Portrait of a Man and so like the previous painting we are unaware of the identity of the sitter. But maybe we do, as when it was purchased for Gulbenkian in 1923 at Christies, it had the title Portrait of Anton Triest.

He is mentioned in documents as being the Burgomaster of Ghent and is also referred to as Nicolas, but this theory is contested by many art historians. His social status has been set due to the absence of a sword which would suggest that the sitter in question is a member of the bourgeoisie. The man sits on a leather chair with Spanish style nail-work which was often used by van Dyck in his early works.

In the next blog I will showcase some of my favourite 18th century paintings which can be discovered in the Founder’s Collection at Lisbon’s Museu Calouste Gulbenkian.