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拍品專文
Nuijen started his career at the early age of twelve, joining the workshop of Andreas Schelfhout in 1825. In 1833 Nuijen first travelled to France with his fellow artist Anthony Waldorp. Here Nuijen was strongly influenced by the French Romanticism.
In 1837 Nuijen undertook a second journey to France, visiting Paris and Normandy. The present watercolour may be dated to just after that trip. It was probably inspired by Richard Parkes Bonington's lithograph of a street in Rouen including the Gros Horloge, done for Voyages pittoresques et romantiques dans l'ancienne France. Other work that may have inspired Nuijen for this composition is found in Eugne Isabey's Souvernirs de Bretagne of 1832 and Samuel Prout's Facsimiles of Sketches made in Flanders & Germany, published in 1833, of which Nuijen owned a copy.
Van Gelder (loc. cit.) described the present drawing as the first painterly watercolour by the artist. Knoef further points out the relationship with a watercolour in the same technique and format in the printroom of the Rijksmuseum, Amsterdam (inv. no. A2635, Knoef, op. cit., p. 60). A related picture by Nuijen was exhibited in 1835 at the Paris Salon by H. Garnerey (C. Sterling, H. Adhmar, La Peinture au Muse du Louvre, Ecole franaise XIXe sicle II, Paris, 1959, no. 893). Another watercolour from this period is in the Amsterdams Historisch Museum, L. van Tilborgh, G. Jansen, Op zoek naar de Gouden eeuw, Nederlandse schilderkunst 1800-1850, exhibition catalogue, The Hague/Haarlem, 1986, p. 133, no. 44, fig. 44.
Only one year after his second trip to France, Nuijen married the daughter of his master, A. Schelfhout. He was not to enjoy married life, nor his good reputation for very long, dying at the early age of twenty-six on 2 June 1839. This explains why his work is generally rather scarse.
Nuijen had a great influence on his Dutch contemporaries; in 1839 J. Bosboom and C. Kruseman travelled to France, visiting Paris and Rouen; Bosboom's watercolour and picture of the Paris Quay at Rouen were both done in that year (C. Dinkelaar, D. Kaatman, Johannes Bosboom (1817-1891), schilder van licht, schaduw en kleur, Laren, 1999, pp. 37-8, figs. 3.09-10)
In 1837 Nuijen undertook a second journey to France, visiting Paris and Normandy. The present watercolour may be dated to just after that trip. It was probably inspired by Richard Parkes Bonington's lithograph of a street in Rouen including the Gros Horloge, done for Voyages pittoresques et romantiques dans l'ancienne France. Other work that may have inspired Nuijen for this composition is found in Eugne Isabey's Souvernirs de Bretagne of 1832 and Samuel Prout's Facsimiles of Sketches made in Flanders & Germany, published in 1833, of which Nuijen owned a copy.
Van Gelder (loc. cit.) described the present drawing as the first painterly watercolour by the artist. Knoef further points out the relationship with a watercolour in the same technique and format in the printroom of the Rijksmuseum, Amsterdam (inv. no. A2635, Knoef, op. cit., p. 60). A related picture by Nuijen was exhibited in 1835 at the Paris Salon by H. Garnerey (C. Sterling, H. Adhmar, La Peinture au Muse du Louvre, Ecole franaise XIXe sicle II, Paris, 1959, no. 893). Another watercolour from this period is in the Amsterdams Historisch Museum, L. van Tilborgh, G. Jansen, Op zoek naar de Gouden eeuw, Nederlandse schilderkunst 1800-1850, exhibition catalogue, The Hague/Haarlem, 1986, p. 133, no. 44, fig. 44.
Only one year after his second trip to France, Nuijen married the daughter of his master, A. Schelfhout. He was not to enjoy married life, nor his good reputation for very long, dying at the early age of twenty-six on 2 June 1839. This explains why his work is generally rather scarse.
Nuijen had a great influence on his Dutch contemporaries; in 1839 J. Bosboom and C. Kruseman travelled to France, visiting Paris and Rouen; Bosboom's watercolour and picture of the Paris Quay at Rouen were both done in that year (C. Dinkelaar, D. Kaatman, Johannes Bosboom (1817-1891), schilder van licht, schaduw en kleur, Laren, 1999, pp. 37-8, figs. 3.09-10)