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Lot Essay
George Hendrik Breitner was educated in both The Hague and Amsterdam and has been an apprentice in the studio of Willem Maris (1844-1910), one of the leading painters of the Haagse School. After permanently settling in Amsterdam in 1886, he moved several times within the city and explored the various neighbourhoods to find inspiration for his work. In this period he also became rather well-known for his photographic talent. In both mediums, he skilfully captured the city life of Amsterdam. He concentrated on illustrating busy street scenes, the demolition of old buildings and building plots and regular city views. As such, Breitner was one of the most compelling painters and photographers of Amsterdam in his time. In 1903 Breitner had moved from Amsterdam to Aerdenhout, inspired by his friend Marius Bauer (1867-1932) who had done the same. His house 'Villa Inter Quercus' had been designed by Bauer's brother Willem. Possibly Bauer bought the present lot directlty from the artist not long after his move to Aerdenhout. Despite this move, Breitner's fascination with Amsterdam's street life never diminished and he moved back to Amsterdam in 1906.
The Rokin in Amsterdam is a recurring theme in Breitner's oeuvre. Following his move to Amsterdam in 1886, Breitner was often to be found roaming the city centre. Not only was the gallery Van Wisselingh & Co. - that represented his work - situated in this area, his artist's society 'Arti et Amicitiae' was also located on the Rokin. This building is visible in the background of the present lot, recognisable through the Roman fronton. In this work, the Rokin is depicted from Dam square in southern direction towards the Munt. Breitner painted the work at the height of his career as he had already been honoured by a major retrospective exhibition at 'Arti et Amicitiae' in 1901, which confirmed his position as a leading artist of his time. Breitner has photographed this location several times (fig. 1). And he had chosen the same perspective various times (see for example the painting 'Rokin with the Nieuwzijdskapel, Amsterdam' (fig. 2), sold in these rooms on 26 April 2005, lot 184). This exceptional painting bears witness to Breitner's proclivity for city life, displaying the characteristic tension between impression and expression for which he is so highly appreciated.
The Rokin in Amsterdam is a recurring theme in Breitner's oeuvre. Following his move to Amsterdam in 1886, Breitner was often to be found roaming the city centre. Not only was the gallery Van Wisselingh & Co. - that represented his work - situated in this area, his artist's society 'Arti et Amicitiae' was also located on the Rokin. This building is visible in the background of the present lot, recognisable through the Roman fronton. In this work, the Rokin is depicted from Dam square in southern direction towards the Munt. Breitner painted the work at the height of his career as he had already been honoured by a major retrospective exhibition at 'Arti et Amicitiae' in 1901, which confirmed his position as a leading artist of his time. Breitner has photographed this location several times (fig. 1). And he had chosen the same perspective various times (see for example the painting 'Rokin with the Nieuwzijdskapel, Amsterdam' (fig. 2), sold in these rooms on 26 April 2005, lot 184). This exceptional painting bears witness to Breitner's proclivity for city life, displaying the characteristic tension between impression and expression for which he is so highly appreciated.