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拍品專文
Jozef Israels was already an internationally renowned artist when he painted the present lot of a peasant family at their meal. The painting cannot be dated exactly but it has been recognized as a relatively late work, probably painted around 1889. At this time Israels' style had become somewhat looser, resulting in a less detailed finish. He seems to be using colour and light effects to create a certain atmosphere in the interior thereby emphasizing the sentiment of the scene. It was for these qualities that the picture was mostly well recieved in the press of the 1890's.
The present lot was regularly entered in exhibitions at home and abroad. At the Venetian Biennale of 1910 it won a large gold medal and it exchanged hands from J.T. Cremer from Santpoort, The Netherlands to John Reid from Glasgow, Scotland. The deal was negotiated between the secretary of the first eleven Bienialle exhibitions, Mr. Fradeletto, who acted on behalf of Israels and two dealers, Edward Brandus and Eugene Cremetti. The art critic, Max Eisler, wrote that Israels thought that the price paid for the picture was ridiculously high. But also noted that the artist was enjoying the fame that his work was bringing him. Eisler wrote: "It was in the late autumn that our friendship began. Israels had had a good summer: he had been to Venice, where his works had had a room to themselves in an international exhibition. Also there he had had visible evidence of the honour done to him and it had been a great joy" (Max Eisler, Jozef Israels, London, 1924, p.30).
The present lot can be compared to two other works with the same subject: a painting excecuted in 1882 now in the Van Gogh Museum in Amsterdam and a watercolour from 1889 now in a private collection (see D. Dekkers, Jozef Israels 1824-1911, Zwolle, 1999, p. 222, cat.no. 46a and 46b).
The present lot was regularly entered in exhibitions at home and abroad. At the Venetian Biennale of 1910 it won a large gold medal and it exchanged hands from J.T. Cremer from Santpoort, The Netherlands to John Reid from Glasgow, Scotland. The deal was negotiated between the secretary of the first eleven Bienialle exhibitions, Mr. Fradeletto, who acted on behalf of Israels and two dealers, Edward Brandus and Eugene Cremetti. The art critic, Max Eisler, wrote that Israels thought that the price paid for the picture was ridiculously high. But also noted that the artist was enjoying the fame that his work was bringing him. Eisler wrote: "It was in the late autumn that our friendship began. Israels had had a good summer: he had been to Venice, where his works had had a room to themselves in an international exhibition. Also there he had had visible evidence of the honour done to him and it had been a great joy" (Max Eisler, Jozef Israels, London, 1924, p.30).
The present lot can be compared to two other works with the same subject: a painting excecuted in 1882 now in the Van Gogh Museum in Amsterdam and a watercolour from 1889 now in a private collection (see D. Dekkers, Jozef Israels 1824-1911, Zwolle, 1999, p. 222, cat.no. 46a and 46b).