- 217
Isaac Israels
Estimate
50,000 - 70,000 EUR
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Description
- Isaac Israels
- a sunny moment in the park, amsterdam
- oil on panel
- 90 by 60 cm.
Provenance
A gift of the artist to Aäron Aletrino (1858-1916), thence by descent
Literature
A. Wagner, Jan Voerman. IJsselschilder, Wageningen 1977, pp. 16-17, illustrated on p. 17
A. Wagner, Isaac Israels, Venlo 1985, p. 24
A. Wagner, Jan Voerman. IJsselschilder, Zwolle 1991, pp. 19, 21
S. de Bodt, J. Kapelle a.o., Isaac Israels. Hollands Impressionist, Schiedam 1999, pp. 13-14
Condition
The panel is straight and solid.. Some minor retouches along the left, right and lower edge due to frame abrasion. Otherwise in fine condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
Catalogue Note
In the year that Isaac Israels painted the present lot, in 1887, he had just moved from The Hague to Amsterdam. Here he joined the group of the so-called 'Tachtigers'. The writers and painters associated with this group found their inspiration in modern city life and the naturalism of Zola. In Amsterdam Israels rented a studio on the Rozengracht no. 15, not far from the former studio of his father Jozef Israels, which was on Rozengracht no. 66. From 1885 onwards the studio on no. 66 was used by the painter Jan Voerman. 'At the moment I am very good friends with Valk [Maurits van der Valk] and Voerman', Israels wrote to Ary Prins in March 1878. Through Voerman, Israels met R.N. Roland Holst, Jan Verkade, Frederik van Eeden, Eduard Karsen, H.J. Haverman and Jan Toorop. Close by, at walking distance, lived the writer Albert Verwey on Rozengracht 57. He was the founder of the magazine De Beweging. The three - Israels, Voerman and Verwey - met regularly. In 1887 Israels painted a portrait of Verwey.
The close friendship between Jan Voerman and Isaac Israels is documented in a unique way by two paintings, which they must have painted side by side. In 1887 both artists depicted exactly the same subject: five women seated on a bench in a sunny park. Voerman depicted the scene in loose, impressionist brushstrokes on a small panel of 24 by 14 cm. (see illustration). He donated this painting to his friend Albert Verwey, who always kept it in his collection.
Israels' version of the same subject, painted on a much larger size, is executed in an equally daring style, using broadly applied, sometimes even crude brushstrokes. The faces, hands and clothing are painted in a sketchy manner, leaving out all unnecessary detail, thus confining himself to essentials. Strikingly modern, almost provocative is the way in which Israels indicates a face by just a few simple strokes of paint. It was this dynamic style of painting that laid the foundation for Amsterdam Impressionism, that flourished in the 1890's. In that sense, this painting of 1887 is a rare and early example of the artist's search for a personal, more expressive style, which is close in intention to that of his painter-friend G.H. Breitner. Judging from the spontaneous brushwork, the present lot was most probably executed outdoors, en plein air.
Israels donated the present lot to the writer and physician Aäron Aletrino (1858-1916), one of the founding members of De Nieuwe Gids. This magazine appeared for the first time in October 1885 and provided a breeding ground for the Tachtigers movement. Painters and writers like Willem Witsen, Willem Kloos, Lodewijk van Deyssel, Jan Veth, Eduard Karsen and G.H. Breitner contributed regularly to De Nieuwe Gids. As a physician, Aletrino treated many of his artist friends. It is therefore highly likely that Israels donated the present lot for medical services rendered by Aletrino.
The close friendship between Jan Voerman and Isaac Israels is documented in a unique way by two paintings, which they must have painted side by side. In 1887 both artists depicted exactly the same subject: five women seated on a bench in a sunny park. Voerman depicted the scene in loose, impressionist brushstrokes on a small panel of 24 by 14 cm. (see illustration). He donated this painting to his friend Albert Verwey, who always kept it in his collection.
Israels' version of the same subject, painted on a much larger size, is executed in an equally daring style, using broadly applied, sometimes even crude brushstrokes. The faces, hands and clothing are painted in a sketchy manner, leaving out all unnecessary detail, thus confining himself to essentials. Strikingly modern, almost provocative is the way in which Israels indicates a face by just a few simple strokes of paint. It was this dynamic style of painting that laid the foundation for Amsterdam Impressionism, that flourished in the 1890's. In that sense, this painting of 1887 is a rare and early example of the artist's search for a personal, more expressive style, which is close in intention to that of his painter-friend G.H. Breitner. Judging from the spontaneous brushwork, the present lot was most probably executed outdoors, en plein air.
Israels donated the present lot to the writer and physician Aäron Aletrino (1858-1916), one of the founding members of De Nieuwe Gids. This magazine appeared for the first time in October 1885 and provided a breeding ground for the Tachtigers movement. Painters and writers like Willem Witsen, Willem Kloos, Lodewijk van Deyssel, Jan Veth, Eduard Karsen and G.H. Breitner contributed regularly to De Nieuwe Gids. As a physician, Aletrino treated many of his artist friends. It is therefore highly likely that Israels donated the present lot for medical services rendered by Aletrino.