Dutch Painting

Myths of the workshop

Until late last year one could visit the exhibition Myths of the Workshop. This multimedia event - not just an exhibition in different places, but also a beautiful book and a database with illustrations and texts at the National Institute for Art History (www.rkd.nl) - offers us a very different look at the (mostly nineteenth century) paintings than we are used to. It studies the practice of painting. Not the finished artwork is central, but the way it is made.

And that among art historians is actually an underexposed area.

The Myths of the Atelier, the event is called, but actually the title does insufficient justice to the versatility of it. It's not just about the studio, but also what is in there is: the tools, the models, guests who were entertained in the studio, the paraphernalia, the objects that were to compose a still life, the palette, paint obviously, and even the manuals that have been published about the right way in which all these resources and materials had to be used.

Of course more often the eyes of art historians have dwelt on the artist's studio, but that dealt in previous books and exhibitions mainly with the famous sixteenth and seventeenth century Dutch painting. If the art historian had some interest in the technical aspects of the profession, one usually looked to the early years of the oil painting. (For some researchers, the main goal was to find out who actually had invented oil painting.) Actually, the one-sided focus on the seventeenth century was remarkable because especially in the nineteenth century, the technical development of painting progressed rapidely.

Myths of the Atelier did not fall from the sky. In the Netherlands there is a lot of research going on to the practice of the arts, and also several monographs in recent years focus on the technical and material aspect. A good example is Yvonne Eekelen's chapter "Ik denk in mijn materie" (I think in my matter) in the monograph on Jacob Maris. (But that might also be due to the fact that Maris was outspoken on the technical aspects of the trade.)

The nineteenth century was the century of photography and publicity. The enormous growth of the press ensured that artists could actively publicize their work. Once he was known, the artist repeatedly was visited by journalists. The interview, now quite common, was a novelty. If one reads in the online archive of Elsevier's Illustrated Maandschrift, one meets them: cozy stories with artists recorded in the studio. The human interest was important. An example from 1891. It's about Joseph Israel, who lived in The Hague Koninginnegracht, about where the art academy is now:

"For them, however, that have seen and talked to Israel's in his studio, Holland's famous painter is in many ways a different person. Passing both salons by, one finds in the porch a door which gives access to a deep, long corridor, a few steps away and level with the garden soil. The actual name for this course is: a covered passageway, nailed over the whole length of the garden, and forming a connection between the house and the stone studio, which he had built in his garden. This passage, heated and in a note straight light, is packed with studies, its cozy and homely make. At the end of this corridor one is for a second stage, twenty steps high, and at the visitor a peculiar, stemmingsvol feeling evokes of isolation - as they went up someone who, with his art in a quiet corner of the city is crawled away: a Hermit of the brush, a great Saint of the painting Inaudible, with muffled steps in the. molligen, thicken looper, one rises to the top, to a small brown door on the left It's right against the wood, and the inside sounds like the voice of a ventriloquist, hoogjes and very far away, soon expelled:. "Inside! "

Open the door, and it comes in a huge space. To the four sides of the walls are high and far away, rising to a flat ceiling, making the floor with a large cubusvormig studio. A huge window on the north allows zonlooslicht streams in, the casting of a pale blue sky Holland Chen, right through the glass from inside coalesced bundles become a quiet, serene light bath that slides down on all objects. White, bluish white, in the foreground, climbs up against chairs, tumble

road some chimney ornaments, hand lightly stroking the curves of prominent objects, tap here with just a glimmer in a glistening porseleintje to turn wide and flat to pee on the floor down.

And it flows out, wegsiftend backwards uitloopend in force, to merge, in which some dream paintings hanging against the wall. In depth in a note straight between light

In the middle of this cube, which volgeloopen with sunless light, behind a donkey Jozef Israels work, turned with his back to the door, but in this huge space, high, wide and wide, his small stature seems even smaller, almost nietigjes of proportions, short, narrow, bent together, doing no bigger than a chair, a separateness incorporated with his donkey, as a single group. He recognizes you when it come to your voice, although he can not see you. And immediately he calls you are kindly welcome to "

Thus the French writer Netscher, that the reader just subtly let know to be. Good knowledge of the famous painter The workshop is truly described as a mythical place where miracles can be performed.

It was not necessarily have to know how good and famous he was. A work by the artist at this time The Hagenaars did the place but in the window of Goupil look to see. Modern art The window often, was also discussed and exchanged pressure.

But there were reproductive engravings made to the work of painters, and could again be displayed. In magazines (Painters like Philippe Zilcken and Willem Steelink were also very corrupt etchers. They earned a good living to bringing time major paintings on the plate.) In 1909 the magazine Art, devoted a special issue to the 85th anniversary of Jozef Israels. "Israel's number," so ran the ad for this edition. "With an unpublished portrait of the Grand Master in his studio (own recording)., And 14 large beautiful pictures of his work. With contributions by Albert Neuhuys, Jan Toorop, Ph. Zilcken, GW Handsome Others' A gradual diffusion of the art made so along with the journalistic texts for distribution and increase the fame.

The workshop played an important role. Not only journalists came across the floor. It was, especially in the first half of the nineteenth century, for the collector is not uncommon to find a painter in his studio to look. Often there were it needed, introductions and got it through the grapevine, if you buy at least was considered powerful enough to occasionally an artwork to purchase. There are plenty of paintings known studio visit which such scenes are depicted.

The artists workshop was also a meeting place for artists themselves. They could as each other's work and process view and often they also exchanged paintings or sketches.

Sometimes, the idea that the landscape painters of impressionism worked mainly in the open, and that the workshop was therefore less important. That is devided but true: one could paint outside, by the invention of the paint tube but usually kept it in outline. In the studio, the large paintings worked. The artists surround themselves with studies made in the field, as evidenced by this studio visit with Willem Roelofs, retold in Elsevier:

"In simple, golden frames hang in there from top to bottom studies, like so many trophies of his trips are below there Fontainebleau,. The" Kempen country, "a great strong light effect of the Leyden Dam, there are also from Scotland. For where he's been, he has painted. But menigvuldigst do you see there the meadow, with some "beasts," with some trees, a ditch, and a more or less gemouvementeerde air, more or less, because now agree the little white clouds, windveeren almost, then great cloud monsters , "airing in order to dream." In the last years are the "beasts" there have been added;. From the same period date down the lakes (Water Lilies), a former oak but oak, urination or animals, it is always "seen" caught heeterdaad, the is painted in good faith, that it was enough to give, as it were, in order to bring about, the same impression of admiration at the viewer again that he experienced when he just this chunk, chose this very moment. "

Caught in the act, but there was the studio needed, with all its facilities to the big screen across.'s 'Impressions of admiration'

Above all had studios are large, so the painter could take away the often large canvases, and the lighting conditions were optimal. A description of the workshop Blommers gives a good picture, "above, at the rear of the house, is [the studio] over the whole breadth to our smaller Amsterdamsche relationships just always struck me as immense, a true painter's Eden. . And it is large and spacious even for the Hague. At the place where Blommers is usually to work, a very beautiful light, which can be tempered and modified. Behind in depth a nice, beautiful, dommclige tone in many ways. The walls naturally full studies and souvenirs of his artistic life. Underneath the portrait of one of his children by Maris, a landscape of the Bock, a sea of Mesdag, one autograph etching by Millet, to the,. Glaneuses. " Furthermore, nothing extraordinary, ordinary requisites, not the least ostentation or pretension; alone [wat'noodig for a man who is just, industrious and work, giving honest nature, as his soul sees her, without any implication or hunting effect. "

An evolving expressionist as Vincent van Gogh saw that there are dangers in the workshop schools work. He wrote to his brother Theo: "I get every time the country of the paintings are everywhere, it is clear to me an ugly things that they say, I've no technique, it is possible that, because I have met. Make no knowledge of the painters, this will bleed to death, it is the contrary true that precisely in this field technique, I find a lot of weak people who matter most about dicks! ...'s what they call clarity is often an ugly tone in studio a cheerless city studio. "

In the workshop were sometimes taught students, especially in the beginning of the nineteenth century when the state and municipal art schools had not been developed. Yet The market for paintings developed from the beginning of the century rapidly, in line with the growth in prosperity. There was Emplooi enough for skilled painters and so grew the need for training opportunities. In Belgium and France were huge private academies, or student workshops, such as Julian or Henner, where dozens of students were present. In 1878 Thérèse Schwartze visited some time Henner's studio in Paris. Her story gives a nice impression. The expectations of the young, but when already successful painter where high hopes: "Full of courage and hope I got the other morning asked for the omnibus, which would bring me the quai Voltaire Verbeeldt a studio, not much bigger than mine. where at least thirty girls, young and old, in a packed, if they could not move, almost to a working model. I could not substantially and remained standing at the entrance, fearing a donkey to throw as I moved. Notwithstanding those accumulation, they still wanted to have me at a fee of 70 francs per month. In Munich I gave a firm large studio, entirely for myself 20 guilders. They work exactly one whole week zelfden to a position and may in turn set. About 30 weeks so so what would turn out to me. There was a horrible muggy air and I believe a lot of imagination. least if they wanted to have me willingly, they were very out of the height. Dazed I went to the Louvre, to think. Since I came to the decision, as to pick up my courage and Henner bluntly, what I thought of. I took a car, drove home, stopped there Mama's portrait and the rest W. not, that was too great. took another few drawings and drove to Henner with a heavy heart, full of fear to tell him well in French I would so reluctant exigeant and imagined shine.. "

That did not find Henner contrary. He remained for half an hour at the portrait of her mother look and Thérèse asked how she got them. Background so beautiful translucent

Not every painting studio to let female students, and ensured that the workshops of Henner and Julian, who had special woman classes, from near and far were visited. The appeal of these workshops was to paint him, especially in the ability to model what was found inappropriate, especially when it came to nude model. Elsewhere for women

The models were also for the practicing professional painters always a problem. They were relatively expensive. There was in Amsterdam and The Hague, a small circuit of girls and women posing nude painting left, but had to be handled with caution. The parents of the girls may not know it, and so had the painters wary in the notes that they sent to summon the models.

For the genre painters was different. Pulchri Chairman Martens made his peasant scenes simply at home, on the streets around The Hague. He had often needed models, and used therefor no peasant women, but ordinary Hagenaars. In 1889 he wrote to colleague Philip Zilcken: "Dear Sir, I have to carry out urgent work and Rika had taken this week before gladly However, I understand that you've ordered it for the whole week - Would you arrange my hair.. to stand. for the whole next week off with it You would do me a great service. " Rika was then dressed in the attire that Martens had in stock. (That there was a struggle for the right model, was more common Isaac Israel was known that he swept to victory by an ordered Witsen model:. They had a studio in the same building, and as there was rung Israel took his chance. )

The genre painters had in their studio setups often the scenes that they often painting: fisherman's houses, complete with nets and other fishing equipment. Or fishermen hung their nets indoors in reality was of less importance. Complete farmyards were sometimes reconstructed in workshops. Whole dressed boxes of costumes. In Volendam Leendert Chip, let the famous hotelier, workshops on German and American painters, and also took care of the models. Some of them were local celebrities. Old Geert the Saviour was one of but the cleverest Volendam model was Hille Butter. She was herself very aware of their status, as evidenced by the fearless way they are now looking at us from the many portraits.

The animal painters had their studio facilities that were aimed beasts easy to paint. The famous French veeschilderes Rosa Bonheur had a complete stall in her studio. Ms. Ronner-Knip, known for cats and dog paintings, stuck to a more modest design. She had a special cage which increased the kittens but it could move, which they could not run away so easily. The animals were in each case less costly than human beings. Therefore, often mannequins used for figure paintings as a stand-in, in all sizes were available and could be manipulated in any position.

In the first half of the nineteenth century saw the daily practice in the studio for the artist is in part different from today. Before the artist could start a new picture or before he could work on one of his earlier work undertaken by first mixing he had the necessary paint. Not too much, because what was not used within a certain time could spoil.

That mixing paint was not easy and time consuming job. The painter was also well aware of the properties of the different pigments. They were not all equally easy to mix with oil, and not all pigments were mixed. And some pigments could even change color when they came into contact with the steel of a palette knife. Many earthy pigments should be first cleaned of dirt and stones before they could be rubbed.

The pigments were triturated with a rubbing stone on a flat plate, in which case oil or water should be added slowly. Rubbing was not always a healthy job, because some pigments contain heavy metals.

Was the paint once finished, which could be stored in a varkensblaasje. To prevent spoilage was filled vesicle kept in a box so as to minimize light and air could reach.

Before the vesicle from pressing the paint before using it served first at the bottom of a cross incision to make. Then the vesicle on the neatly folded flaps again contained in the box. A lazy painter simply poked a hole in the bottom of the vesicle and wrote poetry that end with a nail. But the nail could corrode and ruin the paint, so the standard manuals that was strongly discouraged.

Only after 1840 came readymade paints in metal tubes on the market. The convenience factor, but with the advent of the tube and the paint factory made disappeared in many painters a piece of technical skill and knowledge. And that was also perceived by some as a shortcoming.

The paint producers managed to paint the tube relatively inexpensive and bring on the market. In many shades Therefore did the painter no longer sustainable. Been limited color palette He could use a wide range of colors, and asked for a bigger palette. Some painters even used multiple palettes.

The palette was in the nineteenth century generally oval-shaped and made of a hard wood. In a large size could be quite heavy. Therefore it became more and more the habit not to keep such a large palette while painting in hand but to lay on a table. Some painters used the tabletop itself as a painter's palette.

Another novelty in the mid-nineteenth century had impact on painting practice, the shape of the brushes. (Brushes have stiff hair type, hair brushes have a smooth kind.) Were first brushes only round in shape. They bound the hair with a piece of string around the end of the stem. Until in 1839 the metal shell as a holder for the hair was coined. Now could also flat brushes and brushes are made. This could be painted large areas quickly and easily they could loose, put it wide keys. And smooth painting technique that the Impressionist plein air painters like applied.

Was cleaning the precious brushes a time consuming chore. Also in the nineteenth century I was involved with that one was bothered by pests such as mites, which could nest. Simply brush the hair in those days To counter that kept the painters their brushes sometimes in the pepper, or they wrapped them imbued in turpentine or paper dipped the hair in oil film.

The function of the palette knife changed mid-nineteenth century. First it was only a tool to paint palette could be scraped. Gradually the palette knife increasingly being used to make the paint to make it on the painting. Incidentally, were not all art critics at that time excited about creative uses of the palette knife. In a short time many novelties devised, which they had become accustomed. Also varnish was suddenly ready-made.

But apparently there was nothing like a really old painting from roughly the seventeenth century. Some painters even added a little yellowish paint to their varnish. This painting was a warm, old-looking glow.

With the advent of the paint tube painters moved in the second half of the nineteenth century increasingly to work. In the open air Before that were light and folding easels developed. Some of these donkeys were so light that they threatened constantly blown by the wind to be. Unless the painter's easel set up with ropes.

There were also developed chest asses that were picturesque wooden boxes with folding legs. But some artists were easier. Who took their painting box on her lap, pricked on the inside of the lid unfolded a cloth or a piece of cardboard and went to work. Such a case is called a pochadekist. When a painting of the nineteenth century has puncture holes in the corners, then chances are that it was made in a pochadekist. Chance

These techniques and changing circumstances have greatly influenced the development of painting. One of the interesting parts of the Myths of the Atelier regards the distinction between coarse and fine painting. This distinction is not from the nineteenth century. In the seventeenth century there were serious painters (the late Rembrandt, Frans Hals), and fine painters (early Rembrandt, Gerard Dou), and there was much theorized about the pros and cons of this. Gerard de Lairesse wrote in his Great Painter Book: "The Measure of the Brush is Tweederly, but very different from one to another, because the one is a vloeijend a malsse or smooth, the second a brave and skilful or naughty." Evert van Uitert paints in this chapter very skilled (and tender) how the controversy between supporters and opponents of both methods went.

The author Rachel Esner (on multimedia project worked with many art historians) is engaged in the debate, but less tender. It represents a movement in art history science that seeks to provide. The essence of the art of a philosophical-theoretical basis This leads to findings like these: "I think we can safely say that from about 1780 is not just about reflections on the relationship between reality and imagination, but that the status of the artist in modernity increasingly thematized." Or: "One gets the impression that since the early modern period, and especially since the advent of modernity in the nineteenth century the once relaxed relationship between mind, eye and hand, and between hand and tool, as characterized by Heidegger's notion terhanden "has become." increasingly problematic

Despite this problem should no reader let off. The purchase of the beautifully illustrated book that is part of the multimedia project Myths of the Atelier

Myths of the workshop, painting workshop and practice of nineteenth-century Dutch artist. Publisher d'jonge Hond / RKD

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