Gerharda Hermina Marius

Name: Dutch Art in the Nineteenth Century — The Romanticists
Author: Gerharda Hermina Marius

Dutch Art in the Nineteenth Century… (1908)

Summary

“Dutch Art in the Nineteenth Century — The Romanticists”, published in 1908, is a work by Gerharda Hermina Marius. It explores elements such as painter, portrait and Scheffer.

Quotes from Dutch Art in the Nineteenth Century… (Gerharda Hermina Marius)

Gerharda Hermina Marius, Dutch Art in the Nineteenth Century… (1908)

“ The women especially doted on Ary Scheffer, so much so that it became an act of courage to publish any hostile comment on his work. They recognized the heart in the painter and fell into ecstasies over his sensitive and emotional nature. "Une larme aux yeux ne ment jamais," says Alfred de Musset; and the somewhat feminine Scheffer, the man of sentiment, the man grown up in the mutual cult of mother and son, the man who never really knew what it was to be young, the man of melancholy poetic ideas, passionless and devoid of real sorrow, was just the man to draw that tear. ”

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Source: Wikisource

Gerharda Hermina Marius, Dutch Art in the Nineteenth Century… (1908)

“ We are not saying that Schwartze was not an excellent painter or that in him, as in the later Lenbach, the painter was sacrificed entirely to the psychologist; for, although of German origin, he shows in his painting the pure Dutch characteristics: fine, warm shadows, strong half-tones and boldly modelled light, solid workmanship, thought in the execution, fulness, completeness. His own portrait is certainly one of the very finest expressions of Dutch romanticism ”

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Source: Wikisource

Gerharda Hermina Marius, Dutch Art in the Nineteenth Century… (1908)

“ Mental and moral characteristics too strongly emphasized can captivate us, in the long run, only when they are there unconsciously, or as an important piece of painting, or at any rate executed in a certain style. When Jozef Israëls painted the portrait of his brother artist, Roelofs the landscape-painter, full of suggestion as it is, while seeking for the man under the social varnish, he emphasized no single quality at the expense of any other; perhaps only a painter could recognize the painter in the eyes of the portrait ”

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Source: Wikisource

Gerharda Hermina Marius, Dutch Art in the Nineteenth Century… (1908)

“ Still, Schmidt demanded more of art and here we see his romanticism come peeping round the corner began to feel that art must become something nobler and more exalted. We, who really known little of his work besides the picture of the monks in Boymans' Museum, in which naturally we cannot expect to find any lively colouring, see in him merely a good painter, with a rather wearisome method, a narrow modelling and a notable lack of harmony. ”

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Source: Wikisource

Gerharda Hermina Marius, Dutch Art in the Nineteenth Century… (1908)

“ His faces mostly display that fatal colour which has so often made us take a dislike to our own face when, after long sleeplessness, we look at it in those green mirrors which we find in any inn at which the diligence stops in the morning ... "If we look into Scheffer's pictures more closely and longer, we become familiarized with his mannerism, we begin to think the treatment of the whole very poetic and we see that a serene mood peers through these melancholy colours like sunbeams through the clouds ... "Really, Scheffer's Gretchen is indescribable," continues Heine, a little lower down. ”

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Source: Wikisource

Gerharda Hermina Marius, Dutch Art in the Nineteenth Century… (1908)

“ And yet, notwithstanding his deficiency in that pictorial quality which we Dutch regard as the one and only essential of good painting, notwithstanding the feeble sentiment and often somewhat barren lines of his pictures, this painter of mixed Dutch and German origin, brought up from his childhood under the great French masters of romanticism, has always represented to us an important talent. It is a talent that stands, for the most part, outside the Dutch tradition, even though foreigners are inclined to see a certain striving after Rembrandt effects in the arrangement of the light. ”

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Source: Wikisource

Gerharda Hermina Marius, Dutch Art in the Nineteenth Century… (1908)

“ History, including the history of painting, shows a whole array of mothers who, through their firm belief in their sons' talent, their indefatigable material solicitude, their utter self sacrifice, have smoothed for their sons the difficult road of art. Ary received his first training at his father's hands and, when the latter died, at a time when the art of painting in Holland had sunk very low, Mrs. Scheffer resolved to take her children to Paris, where Ary and Henri could receive a good education. ”

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Source: Wikisource

Gerharda Hermina Marius, Dutch Art in the Nineteenth Century… (1908)

“ There is a great contrast in temperament between the simple Hague portrait-painter and the somewhat younger romanticist Johan George Schwartze, his rival in Amsterdam. Thanks to a wider conception, to a certain tendency towards romanticism, to a search after not only the outer but also the inner aspect of his sitters, Schwartze may be said to have aimed higher in his portraits than the less complex Hague artist. ”

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Source: Wikisource

Gerharda Hermina Marius, Dutch Art in the Nineteenth Century… (1908)

“ The Mæcenases asked for historical painting. Amsterdam, the ever serious city, in whose daily life nature does not play so great a part as in that of the Hague, continued to place before the painters what it considered to be a useful and worthy aim. ”

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Source: Wikisource

Gerharda Hermina Marius, Dutch Art in the Nineteenth Century… (1908)

“ Scheffer was more powerful in pictures which he painted from nature, such as the portrait of Reynolds the engraver, in the Dordrecht Museum, which, with its fluently-painted design, seems inspired by the English painters. Towards the end of his life, in painting his biblical subjects he underwent the influence of the Italian masters, which produced the more vigorous colour-scheme and the more positive, although still very sensitive conception of the Christ bearing the Cross at Dordrecht. ”

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Source: Wikisource

Gerharda Hermina Marius, Dutch Art in the Nineteenth Century… (1908)

“ The Divorce - Van de Laar
(Boymans' Museum, Rotterdam) This is how things stood in those days: as in Belgium, men were genre-painters in the style of the old masters; or historical painters but here Belgium had the advantage, inasmuch as she shared French ideas more strongly and therefore was more powerfully moved or painters of biblical subjects and here, again, Belgium had the advantage, inasmuch as she was a Catholic country and her painters therefore were bound to observe a certain decorum and found a place for their work in the Catholic churches ”

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Source: Wikisource

Gerharda Hermina Marius, Dutch Art in the Nineteenth Century… (1908)

“ Whereas, when Schwartze painted the portrait of Professor Opzoomer, the philosopher, a portrait the conception of which was so greatly admired by the professor's friends because Schwartze painted the thinker as Faust, in a moment of despair, of powerlessness, he was condemned by a later generation, which sees that there is something so theatrical in the attitude, something so much of an actor playing his part, that the portrait resembles a rhetorical phrase rather than a human being. ”

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Source: Wikisource

Gerharda Hermina Marius, Dutch Art in the Nineteenth Century… (1908)

“ His enemies declare that he paints only with snuff and green soap. I do not know how far they do him an injustice. His brown shadows are often affected and hence miss the Rembrandt effect of light intended. ”

Gerharda Hermina Marius

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Quotes from Dutch Art in the Nineteenth Century… (Gerharda Hermina Marius)

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