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拍品專文
The appearance on the market of a painting by the young, near-legendary Wijnand Nuyen is a rare event, the more so when the work is as outstanding as that presented here. It is endowed with added interest by the fact that it is probably the last - or one of the last - paintings he produced in 1839, the year of his death at the age of 26. Moreover, it was in the collection of the former Hague art dealer Pieter Scheen, who discovered and propagated 19th-century Dutch painting.
Nuyen is a unique figure in the history of 19th-century art. After visiting France in 1833, his interpretation of the subject, approach to form and colour and daring style set him apart as the first and in fact only Dutch representative of Romanticism. In contrast to his Dutch contemporaries, who sought to achieve a faithful representation of nature in every detail, Nuyen painted fantasy compositions of the kind he had seen in France. He was likewise a pioneer in such bold cut-off compositions as the painting De afgeknotte Molen of 1829 (private collection) (W. Loos a.o., Langs velden en wegen. De verbeelding van het landschap in de 18de en 19de eeuw, exhib. cat. Amsterdam (Rijksmuseum) Zwolle 2000, no. 37). In Paris in 1833 (in the company of his fellow artist Antonie Waldorp; 1803-1866), he visited the Paris museums and probably the Salon. After his return to the Netherlands, his work clearly displayed the influence of French and also of English contemporary art, and particularly that of Eugène Isabey (1803-1886), who at the time was creating a sensation with his shipwreck scenes and views of beaches and harbours in Normandy. In this context mention must be made of Nuyen's masterwork, the dramatic Shipwreck on a Rocky Coast of about 1838, a monumental painting consistent in all respects with French Romanticism that caused a considerable stir in the Dutch art world (Rijksmuseum, Amsterdam) (M. van Heteren a.o.), Poëzie der werkelijkheid. Nederlandse schilders van de negentiende eeuw, exhib. cat. Amsterdam (Rijksmuseum)/Zwolle 2000, no. 37).
In addition to spectacular pictures like Shipwreck, Nuyen continued to paint charming capriccios and fantasy town- and riverscapes combining Dutch and French architectural fragments and ruins that he had seen personally or taken from contemporary lithographs. The composition of Pleasure Boating is remarkably traditional. The low horizon, concealed on the right by an impressive ruin-like architectural construction, and the activities on the water in the foreground, are fully in accordance with the precepts of his teachers B.J. van Hove (1790-1880) and Andreas Schelfhout (1787-1870). At the same time, the interpretation of the recreational scene on the water is highly romantic. The boats and the people enjoying their excursion are reflected in the water, other boats are visible in the hazy distance, and in the right foreground delicately executed ducks are positioned by a wooden well. The scene is suffused with warm yellow sunlight. A variant of this picturesque painting, Waterland with Mill of 1836, is in the collection of Museum Boijmans Van Beuningen, Rotterdam. (J. Sillevis a.o., De verloren idylle van het riviergezicht, exhib. cat., 's-Hertogenbosch (Noordbrabants Museum)/Zwolle 1993, no. 11).
We wish to thank Drs Wiepke Loos for preparing this catalogue entry.
Nuyen is a unique figure in the history of 19th-century art. After visiting France in 1833, his interpretation of the subject, approach to form and colour and daring style set him apart as the first and in fact only Dutch representative of Romanticism. In contrast to his Dutch contemporaries, who sought to achieve a faithful representation of nature in every detail, Nuyen painted fantasy compositions of the kind he had seen in France. He was likewise a pioneer in such bold cut-off compositions as the painting De afgeknotte Molen of 1829 (private collection) (W. Loos a.o., Langs velden en wegen. De verbeelding van het landschap in de 18de en 19de eeuw, exhib. cat. Amsterdam (Rijksmuseum) Zwolle 2000, no. 37). In Paris in 1833 (in the company of his fellow artist Antonie Waldorp; 1803-1866), he visited the Paris museums and probably the Salon. After his return to the Netherlands, his work clearly displayed the influence of French and also of English contemporary art, and particularly that of Eugène Isabey (1803-1886), who at the time was creating a sensation with his shipwreck scenes and views of beaches and harbours in Normandy. In this context mention must be made of Nuyen's masterwork, the dramatic Shipwreck on a Rocky Coast of about 1838, a monumental painting consistent in all respects with French Romanticism that caused a considerable stir in the Dutch art world (Rijksmuseum, Amsterdam) (M. van Heteren a.o.), Poëzie der werkelijkheid. Nederlandse schilders van de negentiende eeuw, exhib. cat. Amsterdam (Rijksmuseum)/Zwolle 2000, no. 37).
In addition to spectacular pictures like Shipwreck, Nuyen continued to paint charming capriccios and fantasy town- and riverscapes combining Dutch and French architectural fragments and ruins that he had seen personally or taken from contemporary lithographs. The composition of Pleasure Boating is remarkably traditional. The low horizon, concealed on the right by an impressive ruin-like architectural construction, and the activities on the water in the foreground, are fully in accordance with the precepts of his teachers B.J. van Hove (1790-1880) and Andreas Schelfhout (1787-1870). At the same time, the interpretation of the recreational scene on the water is highly romantic. The boats and the people enjoying their excursion are reflected in the water, other boats are visible in the hazy distance, and in the right foreground delicately executed ducks are positioned by a wooden well. The scene is suffused with warm yellow sunlight. A variant of this picturesque painting, Waterland with Mill of 1836, is in the collection of Museum Boijmans Van Beuningen, Rotterdam. (J. Sillevis a.o., De verloren idylle van het riviergezicht, exhib. cat., 's-Hertogenbosch (Noordbrabants Museum)/Zwolle 1993, no. 11).
We wish to thank Drs Wiepke Loos for preparing this catalogue entry.