Lot 212
  • 212

Isaac Israels

Estimate
80,000 - 120,000 EUR
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Description

  • Isaac Israels
  • a fashion show for clients at hirsch, amsterdam
  • signed with the studiostamp l.r.
  • oil on canvas
  • 80,5 by 65 cm.

Provenance

Private collection

Exhibited

The Hague, Haags Gemeentemuseum, Isaac Israels, Mannequins en mode, 7 December 2002 -9 March 2003, no. 164

Literature

Hans te Nijenhuis, Ietse Meij, Isaac Israels, Mannequins en mode, Wijk en Aalburg 2002, cat.no. 164, illustrated in colour

Condition

Original canvas. Very minor horizontal stretchermark visible centrally in the canvas. This work is in fine condition.
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Catalogue Note

Isaac Israels was raised in an artistic environment, his father being one of the founders of the Hague School. In his father's studio, which was a meeting place for artists, he got acquainted with the leading painters of that time. As a result of this, Isaac's early work is heavily influenced by the subdued, atmospheric art of the Hague School. After his move to Amsterdam in 1886 he shifted his attention to modern, urban subjects, drawing inspiration from the bustling life in the streets, café's and fashion houses. Israels captured these subjects in freely applied, vigorous strokes, stressing the dynamism of the moment. Up to this day, he is regarded as the leading force of Amsterdam Impressionism.

Around 1900 Israels was introduced to Hirsch by the painter Thérèse Schwartze. Since 1881 Hirsch was located on the Leidseplein in Amsterdam, becoming one of the biggest and leading fashion houses in Holland. After Israels had obtained permission to work inside the rooms of Hirsch, he started painting models at fashion shows, essayeuses in the fitting rooms and seamstresses at work in their studios. Israels was fascinated by the colourful world of fashion. Through Hirsch, he also obtained an introduction to the fashion houses Drecoll (owned by Hirsch) and Paquin in Paris, where he regularly painted in the years 1903-1913.

The elegant models Isaac Israels painted inside Hirsch were completely different from the women in the working-class quarters of Amsterdam. Israels painted both, although the fashion world suited him better. In this he differed from his friend, contemporary and artistic rival G.H. Breitner, who saw himself as the painter of the working-class.

The present lot shows a fashion show at Hirsch, in one of the rooms were the models showed the new collection to the rich clientele. We see one of the models showing a dress. Several models are waiting in the door, while the interested clients are seated in the back and the front. Clearly, Israels aimed at seizing the moment, capturing the scene with a sensitive eye for the mood of the momentary. The sparkling, energetic brushwork is typical of Israels' mature impressionism. The artist wanted to keep the time delay between his impressions and its registration as short as possible. The low vantage point – as if the viewer is seated next to one of the clients – was used more often by the artist and intended to bring the motive close to the viewer, as if we are ourselves drawn into the space.

The present lot is a wonderful example of Israels' virtuoso brushwork. In his unique manner, the artist indicates the figures with just a few well-placed brushstrokes, thereby confining himself to essentials.

'Fashion Show for Clients at Hirsch' was painted around 1909-1910. From the three versions Israels painted of the subject – the other two in the Gemeentemuseum in The Hague and the Stedelijk Musuem in Amsterdam – the present lot is the only version that has stayed in private hands.