.jpg?w=1)
Lot Essay
The bulk of the works of Isaac Israels adhered strictly to the Dutch brand of Impressionism. Unlike their French counterparts who lit up the canvas with the dazzling light of Southern France or others who sought for a brighter light in the Far East, the Dutch had a preference for the portrayal of the pale-grey, sensitive shades of Dutch autumns, dump springs or the hazy beaches. Hence, Israels was not as impressed with the abundance of light and colour in the Dutch East Indies as the other European artists when he made his first visit to Java in 1921.
It was an obligatory visit he needed to make as he had promised his friends. On the ship heading to Java, the artist wrote 'This is a useless journey, I might as well admit it to myself, but there will be so much pleasure in store for me on my return' (Ruud Spruit, Indonesian Impressions: Oriental themes in Western Painting, Wijk en Aalburg, 1992, p. 24.). Israels did not try to understand the local people or their culture, as a loyal adherent of 'Art for Art's sake', the prevalent theme in 1880s literature and painting, he did not believe that his work should contain any message. Hence, the artist simply recorded what he saw. The motley crowd of street-vendors, musicians and dancers were his endless sources of inspiration, which he would render in various mediums. His oil paintings, watercolours and drawings always give an impression of speed but they were usually results of numerous preparatory studies and working-sketches.
During his stay in Java, the artist was able to gain access to the kratons of the Mangkunegara and the Susuhuhuan in Solo, thanks to his earlier contacts in The Hague with the celebrated dancer of royal descent, Raden Mas Jodjana. It was there that the artist painted the portraits of splendidly dressed dignitaries, court dancers and musicians. When he left Java in 1922, the artist would bring with him to The Netherlands approximately thirty paintings and about fifty watercolours of which some he would eventually execute in oils.
The present lot Rebab-player, dated in 1922 is one of the very rare works,which the artist painted in the East Indies. He was to never return to the East, though he continued to paint some works of Javanese subjects in The Hague but these works were mainly based on his sketches and watercolours he did in the East or the Indonesian models he found in The Netherlands. An interesting contrast to many other European artists who fell in love with the Oriental culture, Israels professed ' Europe is it, for all those peoples over there even more so than for us. The truth about this old Europe being the centre of the world has come home to me even more strongly since I returned from the East.' (Ibid., p. 25.)
It was an obligatory visit he needed to make as he had promised his friends. On the ship heading to Java, the artist wrote 'This is a useless journey, I might as well admit it to myself, but there will be so much pleasure in store for me on my return' (Ruud Spruit, Indonesian Impressions: Oriental themes in Western Painting, Wijk en Aalburg, 1992, p. 24.). Israels did not try to understand the local people or their culture, as a loyal adherent of 'Art for Art's sake', the prevalent theme in 1880s literature and painting, he did not believe that his work should contain any message. Hence, the artist simply recorded what he saw. The motley crowd of street-vendors, musicians and dancers were his endless sources of inspiration, which he would render in various mediums. His oil paintings, watercolours and drawings always give an impression of speed but they were usually results of numerous preparatory studies and working-sketches.
During his stay in Java, the artist was able to gain access to the kratons of the Mangkunegara and the Susuhuhuan in Solo, thanks to his earlier contacts in The Hague with the celebrated dancer of royal descent, Raden Mas Jodjana. It was there that the artist painted the portraits of splendidly dressed dignitaries, court dancers and musicians. When he left Java in 1922, the artist would bring with him to The Netherlands approximately thirty paintings and about fifty watercolours of which some he would eventually execute in oils.
The present lot Rebab-player, dated in 1922 is one of the very rare works,which the artist painted in the East Indies. He was to never return to the East, though he continued to paint some works of Javanese subjects in The Hague but these works were mainly based on his sketches and watercolours he did in the East or the Indonesian models he found in The Netherlands. An interesting contrast to many other European artists who fell in love with the Oriental culture, Israels professed ' Europe is it, for all those peoples over there even more so than for us. The truth about this old Europe being the centre of the world has come home to me even more strongly since I returned from the East.' (Ibid., p. 25.)