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Lot Essay
At the beginning of the 20th century, Scheveningen was an important source of inspiration to the Dutch Impressionist Isaac Israels. His father, the famous The Hague School painter Jozef Israels (1824-1911), had rented a villa near the Oranjehotel, where he stayed during the summer and where his son would come visit regularly. Isaac would spend days on end with his easel on the picturesque boulevard, the beach or on one of the many terraces of the luxurious hotels along the coast. In 1885 the grand Kurhaus was built and it immediately became one of Isaac's favourite spots. His affection for this development is revealed in a letter from 1898, written at the end of the bathing season: 'Vanavond was 't sluiting van 't Kurhaus; ik was erg aangedaan, en ik vond die muziek en alles ineens zoo mooi! Al die beste brave Hollanders bij 't Wilhelmus- 't is toch plezierig als je daar ook bij hoort! (see: Antoon Erftemeijer, Israels aan zee; Hollandse en Italiaanse strandtaferelen van Isaac Israels, Haarlem 2007, p. 14) and 'Hoe is ‘t mogelijk dat iemand eigenlijk buiten de zee kan, dat begrijp ik niet. Het is dezer dagen soms overdonderend mooi, en altijd zoo enorm anders' (Letter from Isaac Israels from Scheveningen, in: Jacqueline Royaards-Sandberg, Ik heb je zoveel te vertellen. Brieven van en aan Lodewijk van Deyssel, Emile en Frans Erens en Isaac Israels, Baarn, 1981, p. 477).
When in 1901 the 372 meter long pier, originally named 'Wandelhoofd Koningin Wilhelmina', was constructed, Isaac started using it as a compositional element in several of his paintings. In the present lot Isaac uses the pier with promenading visitors as the main focus point in this composition, with in the distance the 'Rotonde', the octagonal building at the end of the Pier. Over 1200 guests could eat, drink and enjoy a matinee or evening concert here. In the present lot Isaac Israels has captured a sense of modernity with great flair. Using brisk, confident brushstrokes Isaac has created a very lively composition that is full of movement, showing that he is a perceptive chronicler of the vibrant early 20th century.
When in 1901 the 372 meter long pier, originally named 'Wandelhoofd Koningin Wilhelmina', was constructed, Isaac started using it as a compositional element in several of his paintings. In the present lot Isaac uses the pier with promenading visitors as the main focus point in this composition, with in the distance the 'Rotonde', the octagonal building at the end of the Pier. Over 1200 guests could eat, drink and enjoy a matinee or evening concert here. In the present lot Isaac Israels has captured a sense of modernity with great flair. Using brisk, confident brushstrokes Isaac has created a very lively composition that is full of movement, showing that he is a perceptive chronicler of the vibrant early 20th century.