Hendrik Jan Wolter was greatly inspired by French Impressionist painters like Georges Seurat (1859-1891), Claude Monet (1840-1926) and Paul Signac (1863-1935). This resulted in paintings full of light and elements of luminist and pointillist painting, which we can clearly detect in the present lot. Right before the War in 1914 Wolter moved from Laren to Amsterdam, where he found a studio on the third floor of the Amsteldijk 47. From the first moment he was highly fascinated by the view from his studio window on the river Amstel, which is depicted in the present lot.
The blue water of the river Amstel stands out against the warm coloured bridge in the foreground, continuing its way past the boat houses and the Amsterdam rowing club to the large slightly enlighted Amstel Hotel in the far distance. In the background the snowy roof of theatre Carré and the Magere Brug are visible. This Amstel view is a splendid testimony of his fascination with the continuous change of light and colour, which throughout the years continued to capture his imagination. The present lot is also recorded in the literature as the largest Amstel view Wolter made.
The author of the monography on the artist Klaas de Poel described this fascination as follows: 'The subject was always the same, but the shifting play of light and colour over the water captivated the artist (...). If the weather would stay hazy the moist saturated atmosphere would cover the city view in a blue haze of tender pastel shades. (...) Wolter approached the lightness and vivacity of the Parisians in his Amsterdam town views' (see: Klaas de Poel, Hendrik Jan Wolter. Schilder van licht en kleur, Zwolle 1992, p. 61). And 'From his studio along the Amstel Wolter can see the Hoge sluis, with a dominating Amstel Hotel near the Ceintuurbaanbrug. In astonishment he observes from his window the hazes over the water and the evening sun, illuminating bridges and buildings in a golden glow. In these atmospherical Amstel views the pointill technique from his luminist period is gradually being replaced by more tonal, harmoniously tuned colourfields. Fascinated by the alternating gamut of colours, he painted the Amstel repeatedly. In these pieces he was not interested what he painted, but how and in which colours' (see: Klaas de Poel, 'H.J. Wolter (1873-1952)' in: Tableau, Vol. 7, no. 3, December 1984, p. 48).