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拍品專文
Dutch contemporary critics tended to call Jacob Maris the greatest painter of his age. In her famous review on Dutch 19th century paintings, one of Holland's leading critics Ms G.H. Marius places Maris next to Ruysdael, Vermeer, De Hoogh and Rembrandt.
'Een pracht, waarvan wij in een ander aandoening alleen in Rembrandt een weergade kunnen vinden'. (Marius, De Hollandse Schilderkunst in de negentiende eeuw, 1903 (1920) op cit. pp. 128). Jacob Maris earned his reputation by becoming the impressionist interpreter of Dutch mills, beaches, townviews and vast cloudy skies over meandering rivers. In 1865 Maris settled in Paris, where he was to stay untill 1871. During this period he initially painted readily marketable genre works (Italiennes), and later became a,by the Barbizon painters influenced, landscapist. His french landscapes are closely related to Corot and Daubigny. When Maris settled in The Hague in 1871, his paintings however were, both psychologically and technically, in no way reminiscent to those of the previous era. He completely abandoned the small scale of his early work, giving a new direction to Dutch painting, by the strength of his construction, emphatic, simplified colour, dramatic lighting, and, above all, his broad sure handling of paint. He loved to paint for its on sake - 'I think in my material', ('Ik denk in mijn materie')(Th. de Bock, Jacob Maris, [1902/3], p. 1) - and another of his innovations was modelling in impasto. (Dr. Jos. W. de Gruyter, De Haagse School, Rotterdam 1968, vol. 22, pp. 30).
Through the admiration of the Barbizon painters for the Dutch Old Masters, Jacob Maris, and by Maris the Hague School, became indebted to Jan van Goyen, Jacob van Ruysdael and Jan Vermeer.
The examples of his newly discovered style and inspiration, to be found in Maris' oeuvre after 1871, are strikingly evident and form a remarkable contrast to the landscapes from his Paris' period (as pointed out by Dr. Jos. W. de Gruyter, pp. 17).
Maris' artistic maturity is unmistakably illustrated by The Truncated Mill of 1872 (Amsterdam, Rijksmuseum). This picture represents a remarkable highlight in his oeuvre due to the unusual format, strong but controlled touch, and warm tone.
Apart from townviews and landscapes Maris painted many beach-scenes and seascapes. The first Maris to be included into a Dutch Museum collection was a beachscene purchased in 1884 (De Bomschuit, 1878, Haags Gemeentemuseum, The Hague).
The present lot is closely related to De Bomschuit, with regards to the predominant silver-grey tones combined with a delicate touche of colour, the tranquil motif, rendered in a broad, generous manner, and above all, its unequalled emphasis on the total atmosphere of the painting.
'Een pracht, waarvan wij in een ander aandoening alleen in Rembrandt een weergade kunnen vinden'. (Marius, De Hollandse Schilderkunst in de negentiende eeuw, 1903 (1920) op cit. pp. 128). Jacob Maris earned his reputation by becoming the impressionist interpreter of Dutch mills, beaches, townviews and vast cloudy skies over meandering rivers. In 1865 Maris settled in Paris, where he was to stay untill 1871. During this period he initially painted readily marketable genre works (Italiennes), and later became a,by the Barbizon painters influenced, landscapist. His french landscapes are closely related to Corot and Daubigny. When Maris settled in The Hague in 1871, his paintings however were, both psychologically and technically, in no way reminiscent to those of the previous era. He completely abandoned the small scale of his early work, giving a new direction to Dutch painting, by the strength of his construction, emphatic, simplified colour, dramatic lighting, and, above all, his broad sure handling of paint. He loved to paint for its on sake - 'I think in my material', ('Ik denk in mijn materie')(Th. de Bock, Jacob Maris, [1902/3], p. 1) - and another of his innovations was modelling in impasto. (Dr. Jos. W. de Gruyter, De Haagse School, Rotterdam 1968, vol. 22, pp. 30).
Through the admiration of the Barbizon painters for the Dutch Old Masters, Jacob Maris, and by Maris the Hague School, became indebted to Jan van Goyen, Jacob van Ruysdael and Jan Vermeer.
The examples of his newly discovered style and inspiration, to be found in Maris' oeuvre after 1871, are strikingly evident and form a remarkable contrast to the landscapes from his Paris' period (as pointed out by Dr. Jos. W. de Gruyter, pp. 17).
Maris' artistic maturity is unmistakably illustrated by The Truncated Mill of 1872 (Amsterdam, Rijksmuseum). This picture represents a remarkable highlight in his oeuvre due to the unusual format, strong but controlled touch, and warm tone.
Apart from townviews and landscapes Maris painted many beach-scenes and seascapes. The first Maris to be included into a Dutch Museum collection was a beachscene purchased in 1884 (De Bomschuit, 1878, Haags Gemeentemuseum, The Hague).
The present lot is closely related to De Bomschuit, with regards to the predominant silver-grey tones combined with a delicate touche of colour, the tranquil motif, rendered in a broad, generous manner, and above all, its unequalled emphasis on the total atmosphere of the painting.