Arnold Marc Gorter (1866-1933)
Arnold Marc Gorter (1866-1933)

Gezicht op de Vordense Beek, Vorden; near Vorden

Arnold Marc Gorter (1866-1933)
Gezicht op de Vordense Beek, Vorden; near Vorden
signed 'AM Gorter' (lower right)
oil on canvas
115.5 x 155.5 cm.
The estate of the artist.
By descent from the above to the present owner.
Enschede, Rijksmuseum Twenthe/Zutphen, Stedelijk Museum voor Zutphen en de Graafschap/Almelo, Gemeentelijk Expositiecentrum 'De Waag'/Doetinchem, Stadsmuseum 't Gevang/Assen, Provinciaal Museum van Drenthe, De andere Gorter. Nauwelijks bekende studies van een landschapschilder, 16 September 1983 - 23 September 1984, no. 69.
Zutphen, Stedelijk Museum Zutphen, A.M. Gorter (1866-1933): schilder van het Oost-Nederlands landschap, 25 June - 28 August 2011, no. 56.

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Lot Essay

The landscape of the eastern part of the Netherlands and in particular of his native countryside of Twente remained Gorter's favorite subject throughout his life. It was not the lowlands of Holland he pictured, like the Hague-School painters did, but the higher grounds across the river IJssel near the German border.
The present lot is an example of the large elaborate compositions Gorter painted in his Amsterdam studio after having made numerous outdoor oil-sketches near Almelo, Delden or Denekamp. The thick crusty layer of paint is a characteristic of his large mature works.
His first solo-exhibitions in Almelo and Amsterdam in the 1890s were quite successful. With art-dealer Frans Buffa & Zn in Amsterdam he became one of the best selling artists, sharing this position with Isaac Israels. Foreign public acclaim he received by taking part in the great annual exhibitions in Munich and especially in Paris, where at the Salon des Artistes Français he received all the honours an artist could get. In 1904 the French state bought a large canvas for the Musée du Luxembourg and in 1923 Gorter was even elected as a member of the Académie Française.
The first exhibition of his work in America was at the 1904 Universal Exhibition in St Louis. American art-dealers now began to show his work and after his gold medal at the 1915 'Panama-Pacific' world-fair in San Francisco sales in the US and Canada increased to outnumber those in Holland. The Fry Art Museum in Seattle, for instance, still possesses eight of his pictures.

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