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Lot Essay
Cornelis Springer can be considered the most important Dutch architectural painter of the 19th century. Born into an Amsterdam family of architects and building contractors it is clear why he became the townscape painter par excellence. Springer was educated by Andries de Wit (1768-1842), a house and carriage painter who also gave the young student the opportunity to engage in fine arts, once his regular work was finished. Furthermore he received architectural drawing lessons from his brother Hendrik at an early age.
Inspired by his tutor Kaspar Karsen (1810-1896) from whom he received lessons from 1835 until 1837, Springer initially painted fantasy town views which followed the contemporary trend of idealising the past and recreating a national heritage. From the early 1850's onwards, Springer abandoned the fantasy element in his work and concentrated on existing topographical locations, following an increasing interest in topographical accuracy from collectors at the time.
From the 1850's onwards Springer had reached such fame that he only worked on commission for private collectors and art dealers. A waiting list of two years in this period was testimony to the great popularity of his work. A patron would choose a composition on the basis of the sketches, after which Springer would paint the version in oil. Possibly this painting was also made on commission since the collector S.L. Keijzer acquired the work in 1854, the year the painting is dated, directly from Springer himself for the sum of Nlg. 300 which was the second highest price to be paid for one of Springer's paintings in that year.
The present painting is a beautiful example of Springer's realistic representations of a city. Here he has depicted a view of the Rokin in his birth town Amsterdam before the rigorous changes were executed, filling the Amstel river between the Spui and Dam Square. The Rokin originally formed a part of the Amstel, but from the 16th century onwards it became known as the 'Ruck-in' from 'inrukken', which means 'to withdraw', as some of the houses had to make space for quays. Springer must have been sitting near the Olieslagerssteeg, from where he was able to paint the Langebrug, the bridge visible in the centre, connecting the Rokin to the Nes. To the left the spire of the Nieuwezijds Kapel can be seen and in the far background the dome of the Royal Palace of Amsterdam is visible. To the right hand the Oude Turfmarkt is depicted. It has been suggested that the gentleman with the bowler hat holding a sketchbook, conversing with a young woman in the foreground, could be the artist himself.
Cornelis Springers's works are of great importance. Not only due to the great technical skills within his paintings, but also because they form historical documents, allowing the viewers a 19th century look into the streets of several Dutch cities in a most remarkable way.
Inspired by his tutor Kaspar Karsen (1810-1896) from whom he received lessons from 1835 until 1837, Springer initially painted fantasy town views which followed the contemporary trend of idealising the past and recreating a national heritage. From the early 1850's onwards, Springer abandoned the fantasy element in his work and concentrated on existing topographical locations, following an increasing interest in topographical accuracy from collectors at the time.
From the 1850's onwards Springer had reached such fame that he only worked on commission for private collectors and art dealers. A waiting list of two years in this period was testimony to the great popularity of his work. A patron would choose a composition on the basis of the sketches, after which Springer would paint the version in oil. Possibly this painting was also made on commission since the collector S.L. Keijzer acquired the work in 1854, the year the painting is dated, directly from Springer himself for the sum of Nlg. 300 which was the second highest price to be paid for one of Springer's paintings in that year.
The present painting is a beautiful example of Springer's realistic representations of a city. Here he has depicted a view of the Rokin in his birth town Amsterdam before the rigorous changes were executed, filling the Amstel river between the Spui and Dam Square. The Rokin originally formed a part of the Amstel, but from the 16th century onwards it became known as the 'Ruck-in' from 'inrukken', which means 'to withdraw', as some of the houses had to make space for quays. Springer must have been sitting near the Olieslagerssteeg, from where he was able to paint the Langebrug, the bridge visible in the centre, connecting the Rokin to the Nes. To the left the spire of the Nieuwezijds Kapel can be seen and in the far background the dome of the Royal Palace of Amsterdam is visible. To the right hand the Oude Turfmarkt is depicted. It has been suggested that the gentleman with the bowler hat holding a sketchbook, conversing with a young woman in the foreground, could be the artist himself.
Cornelis Springers's works are of great importance. Not only due to the great technical skills within his paintings, but also because they form historical documents, allowing the viewers a 19th century look into the streets of several Dutch cities in a most remarkable way.