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拍品專文
From the beginning of his artistic career, Zoetelief Tromp dedicated himself to portraying human figures. In this he was strongly influenced by his tutor at the Rijksacademie in Amsterdam, August Allebé (1838-1927). Initially the artist was influenced by the work of the artists from the Laren School, painting children and their parents in and around farmhouses in darker tones. His ties with this school became even stronger after moving to the Villa Thea in the nearby village Blaricum in 1899, straight after his marriage to the daughter of one of the most succesful painters of the Hague School Bernardus Johannes Blommers.
From 1900 onwards Zoetelief Tromp participated more regulary at the Pulchri Studio exhibitions in The Hague, where he was a member. Undergoing the influence of amongst others his father-in-law, Zoetelief Tromp adapted his style and started to use a freer and more vibrant brushstroke in a more luminous palet. He also changed his subjectmatter insofar that the children who used to be depicted in farmhouse interiors were now shown in the open air, returning home from the bulb-fields or in the dunes.
The paintings with the 'Returning home' theme like the present lot were very much in demand on the international artmarket and many were exported during the artist's lifetime.
From 1900 onwards Zoetelief Tromp participated more regulary at the Pulchri Studio exhibitions in The Hague, where he was a member. Undergoing the influence of amongst others his father-in-law, Zoetelief Tromp adapted his style and started to use a freer and more vibrant brushstroke in a more luminous palet. He also changed his subjectmatter insofar that the children who used to be depicted in farmhouse interiors were now shown in the open air, returning home from the bulb-fields or in the dunes.
The paintings with the 'Returning home' theme like the present lot were very much in demand on the international artmarket and many were exported during the artist's lifetime.