Painters From The Netherlands

"It were mainly three or four [paintings] which kept him specifically busy [in the 1890's]. They were in progress for years already and he always spent hours and hours working on them - in which he wholly and truly disappeared into his work, persistently trying to perfect it in construction or composition and to saturate it with the life itself, of his soul - never satisfied with any result he achieved. Most of the time 'The Westmacott children' [and] 'The child with the Butterflies' were on his easel, and never they stayed the same with a next visit. They both had an expression that only he could give them. Sometimes, he acknowledged, he spent too many days working on one single work, with the inevitable danger of weakening his sensitivity by a lack of variety. Often it was sad to see that he could not leave them as they were.."

"Weissenbruch to Vincent van Gogh: ..now that I have seen your work, I will take sides for you. They call me 'the sword without mercy', and I am - and I would not have said anything like that to Anton Mauve about you if I had not found any good in your sketches."

"Also about J.H. Weissenbruch I can't keep silent - in spite of the fact they have been banished his works to the upper [exhibition] room. It may be true that one wishes them to be a little more worked-through, and somewhat less crude in hue, but he is exceeding many others [at the exhibition] concerning the broadness and power of the effect and the expression of the oppositions between the light in the air and the deep hues of the landscape.."

"Of course I should be very happy to sell a drawing but I am happier still when a real artist like Jan Hendrik Weissenbruch says about an unsalable??? study or drawing: 'That is true to nature, I could work from that myself.'"

"Some time ago I saw a painting by Thijs Maris that reminded me of it. An old Dutch town with rows of brownish red houses with step-gables and tall flights of steps, grey roofs, and white or yellow doors, window-frames and cornices; canals with ships and a large white drawbridge, a barge with a man at the tiller going under it.. .Some distance away a stone bridge over the canal, with people and a cart with white horses crossing it. And everywhere movement, a porter with his wheelbarrow, a man leaning against the railing, gazing into the water, women in black with white caps.. .A greyish white sky over everything..."

"I recollect after the war in '71 [in Paris, where he stayed then and was fighting against the German] there were some debts to pay of course: what had I to do? I said to Wisselingh [Dutch art-dealer] who was with Goupil, 'tell them that I'll take them back later on.' I've never been able to do so, for one Van Gogh [probably Vincent, then art-seller at Goupil], his partner, gave me 200 francs, someone bought it for 350, and sold it in America for 700 pounds. He had asked Wisselingh how long it had taken me to do [make] it; he said a week, so I was the chap for him; no wonder he was always talking making fortune, fancy 100 pounds per day, make some more or this sort: do it only for a year. So I had to commit suicides upon suicides [he means, making salable paintings]: what did it matter to him or anyone else ? Someone said once to me: 'You must have somebody fool enough to say, here is money for you, and go your own way': that is the very thing one may not do. There is always someone telling you how to set about, and then come the schools telling you that it is not allowed to be one's self, but that one has to be a Roman or Greek, or imitate what they have performed.."

"Besides (and I now quote the artist's own words) I never put a bullet in my gun, but only pretended, to do so!"

"My brother Jaap was born as a painter, which means he really enjoyed it. (translation from original Dutch, Fons Heijnsbroek, 2018)"

"I liked the room [his new place in London, c. 1906] the moment I saw it, so here I am set up as a swell.. .Don't you take this to be a trap set up for the unwary, you know you're always touching a sore spot when you talk painting, and drag my suicides before the public, the right name for potboilers, one has to give up all aim for any good intention, and do the technical skill and cleverness to please those with halfpennies and farthings in their pocket, to be favoured to live.. .I just got a letter from somebody, saying: but with potboiling one can make money, money always considered to be the principal. I told him he was greatly mistaken, when a little honesty remains, one can scarcely ask anything for them."

"Last year I asked too much of my strength. I can't go on like this. it was not possible for me, I had to step back, I didn't make anything but stones [about his paintings?] ... They wanted to see beautiful paintings but I still couldn't make them, one illusion disappears for the other. I have made Cold reality, and I have made Truth. Is there a truth, also the cold reality is a truth. What exists between them was [only] baroque convention. I threw away everything in the stove.. .I am messing up my time with them; what is nothing more than material is no art to me; I could not bring it out.. (translation from original Dutch, Fons Heijnsbroek, 2018)"

"Just at the time I got your letter Mr. Angus sent me the 'Scotsman' [magazine]. You say some critics have thought it fair to make it the basis of a personal attack, and it is very critic-like. Critic means knife, means dissection, means wisdom, means perfection. Art is stupid, art-less. That is a hard job for the critic to understand. I like your book because it is 'stupid', like Japanese; which means done for the love of it in itself; not for gain or success. You don't go to criticise a Japanese drawing and say it is out of shape, out of drawing, no perspective nor anatomy. This is only for the critic to show his knowledge by killing the things; those stupid fellows do harm, like Whistler says, with their learnings. They must have schools and applications of knowledge. Thackeray calls them scavengers - scavengers are at least necessary, those fellows are for no good.."

"As far as 'Melancholy' concerned, or as he liked to call it 'Evaporated Dreams', on that painting he worked most times during the last years of his life, when his eyes got less and less reliable. When he died the painting stood on his easel. Often he spoke about it with bitterness, as if it should express the nature of his own life. With his almost lost drawing [using no lines] and his subdued color, it sometimes seemed to me the saddest possible emblem of all the unhappiness of his fate."

"In the back of the garden of the hostelry where I am staying there is a settee; when one is sitting there you get precisely a nice view on the abandoned castle of Vorden. Often I see the old reverend clergyman sitting there, certainly for having a real rural view on the meadow, or for being able to turn his eyes to the old grayed-up walls of the castle, and coming in that way to the thought how all human labor is brought back to Nothing by the breath of the ages. (translation from Dutch, Fons Heijnsbroek)."

"When it is storming and raining, thundering and lightning I am in my element; nature must be seen in action. Then outside, I put on my jacket, put my feet in clogs, put on a hat and start on a march. When the showers settle down, with charcoal or black chalk [I] make a scribble, to keep a firm grip on what one sees. When working out, hue and color come smoothly back into the memory."

"Better send in one good picture than a lot of poor ones, but then that good one must be so good that it almost walks out of the frame and becomes a portion of nature itself."

"I remember I stood stunned as a boy, in front of the paintings of the old [Dutch] masters in our museums, how they let speak Nature to you. If I have learned to see nature by someone, it was by our old masters. But most by Nature itself. (translation from Dutch, Fons Heijnsbroek, 2018)"

"You see I am like a surgeon in a hospital; all these [sketches / watercolors] lying around me are my patients, and as I walk about among them I notice those most in need of doctoring. I pick out some sickly looking specimen and say to myself, 'Only wait a moment, and I will find some remedy for you'; some need much medicine, and some even require a severe operation to bring them round. Look at that one in the corner. I believe it is suffering from jaundice, but doubtless I shall find a cure for it."

"Some of his [Nuijen's] works reveal a flight of imagination that aspires above the patriotic [Dutch] uniformity towards a more impressive style."

"Light and air, that's art! I can never give enough light in my paintings, especially in the skies. The air in a painting, that is really a thing! It is the main thing! Air and light are the great magicians. It is the sky which prescribes the painting. Painters never look enough at the sky. We must get it from above. (translation from Dutch, Fons Heijnsbroek, 2018)"

"I was a healthy, strong, cheerful boy, and like to take great walks in and around The Hague.. .I sometimes got a blow from Nature. And if I got such a blow later, I could draw and paint what I saw. I recorded it in a few scribbles."

"My good Lord and friend Sala, - [I] enjoyed the blissful pleasure enjoyed by your friendship.. .When I reached the city [The Hague] again yesterday, I have taken the fishes out of the basket more than 12 times, to show them.. .That day, friend Sala, belongs among the most pleasant of my life, all moments have kept me alive until now, always sitting [fishing] in the boat, swaying with the bobbers in the field of view.."

".. We also noticed that in this specialty, [the section landscape-painting], which must be based so entirely on a faithful study of nature, the way which our old [Dutch Golden Age] masters followed with so much fame - some artists start to leave that golden way more and more, to the disadvantage of their works and of art in general. This was mainly to be seen in the paintings of a 'young and very promising artist [Wijnand Nuijen], who starts to tilt increasingly to the Romantic way of taste, and, being dragged along by the fashion spirit of recent time, seems to prefer an easy effect without truth and naturalness above a powerful and vivid expression of objects. (translation from the original Dutch: Fons Heijnsbroek)"

"The death of the unforgettable Nuyen has moved me deeply, Jan. Now the hope for young painting art [in The Netherlands] lies on You. Surely you are, after Nuyen, the only one who can fulfill this task. (translation from the original Dutch: Fons Heijnsbroek)"

"Nuijen, a pupil of Schelfhout.. ..was in turn reviving his master. Schelfhout had fallen back into a certain deadly, pale, green color by 1830, and Nuyen, who the sun of rising Romanticism from France had shone in his eyes, was one of the first in our country [The Netherlands] to take a look there.. .In 1833 this became a reason for Schelfhout to make a trip to Paris.. ..with this consequence that Schelfhout's talent of the moment got a new elan.. .Not only that he spread his wings more freely, but also his subjects were transferred to another area. [the wide Dutch landscape and many winter-views]. (translation from original Dutch: Fons Heijnsbroek)"

"..that Schelfhout modified his success-works infinitely, repeated and copied them, so that in the end the first, spontaneous seeing perished for a painting of recipes.. ..[but] it is also true that his early work strikes many times by the originally observed, colored air, by its reflection in the cold blue of the ice-surface, albeit that the smooth, ethereal way of painting leads us to a mixed valuation. (translation from original Dutch: Fons Heijnsbroek)"

".[I ventured it, c. 1818] to start a small painting. It was a view in 't Haagsche Bosch. This also cost me great worries and trouble.. .My cousin Schelfhout came to me when I had finished it myself. He saw it and said to me: [four years younger!], you better paint houses, you better focus yourself on townscapes. Why my good nephew told me so, I don't know. Anyhow, I followed his advice. (translation from original Dutch: Fons Heijnsbroek)"

"Around 1836 I left the studio of my master and obtained my own studio in the parental home.. .The [[w:Romanticism|romantic [Dutch] movement]] under the leadership of the highly-gifted [Wijnand] Nuijen [c. 1830] also attracted me to follow. And in spite of the fact that in this way people lost their color and embellishment and often degenerating into chic, later on, a more sensible search arose for enlivening of coloration, heightening effect and strengthening the relief. (translation from the original Dutch: Fons Heijnsbroek)"

"[ Nuijen, a pupil of Schelfhout].. ..was in turn reviving his master. Schelfhout had fallen back into a certain deadly, pale, green color by 1830, and Nuyen, who the sun of rising Romanticism from France had shone in his eyes, was one of the first in our country [The Netherlands] to take a look there.. .In 1833 this became a reason for Schelfhout to make a trip to Paris.. ..with this consequence that Schelfhout's talent of the moment got a new elan.. .Not only that he spread his wings more freely, but also his subjects were transferred to another area. [the wide Dutch landscape and many winter-views]. (translation from original Dutch: Fons Heijnsbroek)"

"Weissenbruch to Anton Mauve: He [ Vincent van Gogh ] is drawing damn well, I could paint after his studies."

"Do you like to see what can be transformed from a flat, elementary rural scene - bearing the stamp of nature, the mark of truth - into something most beautiful and graceful? Look at the works of our great [painter] Schelfhout. There you will find represented plain nature at the most elegant, but moreover with a faithfulness and truth, which only Schelfhout can represent. (translation from original Dutch: Fons Heijnsbroek)"

"Only the way Schelfhout represents winter, in the white garment and with the motley crowd of skaters, we find something tempting about it. (translation from original Dutch: Fons Heijnsbroek)"

"S. [Schefhout] was educated in the field his fathers [frame maker].. .. when he came to Brickenheimer because his wish was to paint, in which school he soon became a master and performed the decoration commissioned to B. [Brickenheimer] (translation from original Dutch: Fons Heijnsbroek)"

"..and since we are now living in the Summer-time, I don't have a trick to imagine me Winter so strongly that I would be able to paint one [a winter-landscape].. ..and you must have patience until next winter. (translation from original Dutch: Fons Heijnsbroek)"

"You can't sell anything to the museum nowadays. If one presents something now, one is partly rejected because they have no money in cash. Yes Friend, that's how things are going.. .It's going very bad here with the old arts in The Hague., I hardly hear of anything. How are things going in Rotterdam? I believe that also there is not much moving. (translation from original Dutch: Fons Heijnsbroek)"

"..when the terrible storm and high flood of water raged most fearfully, I went to Schevelinge.. ..sea and sky seemed to be one [undivided] element; at the height where I stood - because the sea had already washed away dunes and stood up to the village – the view was horrible; the wailing of the inhabitants awful. - when arriving home, I immediately put a sketch of all this on paper - but that sketch represented so little of what I had seen on the spot itself.. ..[where] no part turned up itself of which I could make a sketch.. ..[so it] will be necessary for me to return to Scheveningen again and to outline those places where the water has raged most violently.. (translation from original Dutch: Fons Heijnsbroek)"

"Who has supported his first, shaky steps on the steep and slippery path, who has given him the push to independent progress, who brought him into the temple of immortality? So will the offspring ask. Our answer is: Nature, and only Nature was Schelfhout's teacher. (translation from original Dutch: Fons Heijnsbroek)"

"..[both of us (Schelfhout ànd J.C. Schotel)] make each a painting that together will form one view, as it were [view of Scheveningen by Schotel / view of The Hague by Schelfhout].. ..[but] our paintings together will therefore not become one integrated thing, but only pendants.. .I have taken my drawing from the steps of the Pavilion [in Scheveningen], viewed over the dunes to [the city] The Hague. In the foreground, which is very bare and empty in reality, I have placed some trees. (translation from original Dutch: Fons Heijnsbroek)"

"[four years younger!], you better paint houses, you better focus yourself on townscapes. (translation from original Dutch: Fons Heijnsbroek)"

"Cheerfully and cheerily, I started working once more in giant steps to the second painting by Mr Twent. [of the , then owned by Abraham Jacob , who wanted his estate immortalized in two large paintings] (translation from original Dutch: Fons Heijnsbroek)"

"Here are 3 drawings that I have made for You. It will be satisfactory, if it will meet your expectation and what it is for [to make a painting]. The two landscapes are thoughts, but the one that suggests the moonlight is the castle at Doorenwaart in Gelderland. I also painted a painting of that subject which I enjoyed a lot in Amsterdam [because, purchased there by A. B. Roothaan there] (translation from original Dutch: Fons Heijnsbroek)"

"..In July [1808], master Breckenheimer was commissioned to decorate the new Leidsche Schouwburg [Theatre-building].. .[Schelfhout] started painting the forest, what he was good at, and I started to help our master to outline the palace. I got ambition in painting the stage, and practiced with Schelfhout drawing after nature before half past six in the morning and after half past eight in the evening - when the days were long, to be clear. (translation from original Dutch: Fons Heijnsbroek)"

"For you it must be a great satisfaction that you have done so much for modern art. If Der Sturm had not worked like this for ten years then Germany would not have been at the forefront of the movement. (translation from Dutch, Fons Heijnsbroek, 2018)"

"Here [in the Netherlands] there is absolutely nothing, nowhere and permanently committees to deliver the visual artists some money, since all are hungry. It is such a difficult time for Holland. I had flu, I was very sick and I am still too weak to work. (translation from Dutch, Fons Heijnsbroek, 2018)"

"..I am so often showing my work in Germany that I belong to the German moderns.. .I openly want to confess you that I don't value the new painting in my home country very much. That is why I don't have a lot of acquaintances among the painters. Everything here is so little progressive. People's life is to easy here. It is very difficult to keep wide-awake since all are sleeping here. I feel much more at home in Germany. (translation from Dutch, Fons Heijnsbroek, 2018)"

"Jacoba van Heemskerck paints a tree. She doesn't want its appearance, not the object, not the expression which can already be made in some dashes of color to astonish the observer. It is indeed about a tree, but she wants the miracle: standing, spreading itself, bearing its leaves, reaching into space, moving, being a part of the world. (translation from German, Fons Heijnsbroek, 2018)"

"On the whole [the alignment of a series of stained glass windows with the interior of a villa in The Hague] I have thought about all the time.. .I want to focus more on the architecture of the interior in general and that should we do together [with architect Buys].. .Now I was already thinking, the enormous color effect that the window will generate - and that will certainly become powerful - must be accompanied with strong colors - the hall -, otherwise the window itself will be too much isolated. For instance the staircase, could it be painted in strong colors and not [in] oak.. ..deep ultramarine blue or green, with a beautiful colorful carpet.. ..I feel I must make designs for carpets, to create in that way a beautiful unity with the stained glass as a whole. (translation from Dutch, Fons Heijnsbroek, 2018)"

"I don't understand how many painters can be so short-sighted to value art from earlier periods as completely worthless. Every art is an expression of an era and only for that reason already it is interesting. A Rembrandt has gone other ways, but he has certainly also pursued the highest goals. That one can assert: it is not necessary for a painter to have an impression when he is painting an Image, is nonsense. Certainly an artist, if he is really an artist, always has an inner urge to create an Image and thus sees an impression for himself that he may not always be able to explain, because deeper feelings are very difficult to grasp in words, but he has an impression - otherwise he only makes paintings as pure brain work. And intellectual art I can't bear. You can not make abstract art as something on its own. One feel various forms in their inner coherence. For example: when reading a fairy tale I can get the idea to paint a forest in completely abstract forms with motifs of trees. Every abstract form has an inner meaning for me. (translation from Dutch, Fons Heijnsbroek, 2018)"

"..Also Lady van Heemskerck van Beest has found in Cubism the direction in which she can now express herself preferably. The shape [of cubism] is already so familiar to her that she uses it without much difficulty and with her diligence and good will she moreover knows how to handle the right color soon. (translation from Dutch, Fons Heijnsbroek, 2018)"

"This evening the Anthroposophical Society invited me to give a lecture about modern art, on 13 March. They start to wake up here [in the Netherlands].. .Please, tell me something, what I should emphasize, what you find most important. I shall also read something from 'The Spiritual in Art' by Kandinsky.. .But we still have other views on the whole, isn't it. I don't always agree with Kandinsky, and often more with your views. So please write a little much.. .You know, for me it is always easier to paint my principles. (translation from German, Fons Heijnsbroek, 2018)"

"Every day I am thinking about the Art school [which Walden wants to start in Germany, since 1915-16].. .If our pursuit is really to make great progress in future, the Art school must produce individualities who can with our assist really continue from their inside and start creating on their own, without always studying the pictures of other artists. (translation from German, Fons Heijnsbroek, 2018)"