Boersche buurt

Eduard Karsen belonged to the group of young bohemian artists and writers who passionately propagated the L'art pour l'art ideal at the end of the nineteenth century. Within this cultural elite, also known as The Tachtigers, the introvert Karsen took up a singular position. In contrast to fellow artists such as I. Israels and G.H. Breitner, who were inspired by the dynamic character of the flourishing capital, Karsen portrayed a world asleep, consciously leaving out superfluous details and allusions to time. To further enhance this dream-like quality, Karsen avoided populating his impressions with people and covered his works with a frosted, pearly veil. Early mornings and late afternoons especially proved to be appropriate for the artist to venture outside and capture the immaterial. In his sonnet Avond, which W. Kloos supposedly dedicated to the melancholic artist in 1866, the poet strikingly evokes the very nature of Karsen's work: En ver, daar ginds, die zachtgekleurde lucht Als perlemoer, waar ied're tint vervliet In terheid...Rust-o, wondervreemd genucht! Want alles is bij dag z innig niet. (exhibition catalogue Arnhem, Arnhems Museum, De verstilde wereld van Karsper en Eduard Karsen, 5 February-20 March 1977). Karsen created the majority of his works between 1888 and 1891. It has been suggested that this increase in artistic activity was triggered by the rejection of his amorous advances towards Saar de Swart around that time. His deserted and solemn landscapes can thus be interpreted as reflections of his psychological moods. Though Karsen stopped working after 1905 and left behind a moderate oeuvre of around 100 paintings, each picture trandscends the ordinary and houses a glimpse of eternity.