"There's a Mauve, the large painting of the pink being dragged onto the dunes [at the Dutch coast near The Hague], it's a masterpiece. I've never heard a good sermon about resignation nor been able to imagine one, except for this painting by Mauve and the work of Millet. It is indeed resignation, but the true kind, not that of the clergymen. Those nags, those poor, sorry-looking nags, black, white, brown, they stand there, patiently submissive, willing, resigned, still. They'll soon have to drag the heavy boat the last bit of the way, the job's almost done. They stand still for a moment, they pant, they're covered in sweat, but they don't murmur, they don't protest – they don't complain – about anything. They're long past that, years ago already. They're resigned to living and working a while longer, but if they have to go to the knacker's yard tomorrow, so be it, they're ready for it. I find such a wonderfully elevated, practical, wordless philosophy in this painting.. .It seems to me that this painting by Mauve would be one of those rare paintings which Millet would stand in front of for a long time, mumbling to himself, 'he has a good heart, that painter'."
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Mauve's painting was one of a selection of Dutch paintings on an exhibition in The Hague, which would later sent in for the Paris annual Salon of 1882
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Anton Mauve
Anton Mauve (Zaandam, 18 Sept. 1838 - Laren, 5 Feb. 1888) was a Dutch landscape painter and a leading member of the Hague School; in The Netherlands he became famous as the 'sheep'-painter. Mauve was frequently painting in open air with Willem Maris and Gerard Bilders around the village Oosterbeek. He had a significant early influence on his cousin-in-law Vincent van Gogh.
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