Dutch painter (1855-1925) From Wikipedia, the free encyclopedia
Jan Hillebrand Wijsmuller (13 February 1855 in Amsterdam – 23 May 1925 in Amsterdam) was a Dutchpainter. He belongs to The 2. Golden Age of Dutch Painting.[1]
Portrait of Jan Hillebrand Wijsmuller by H. M. Krabbé in 1894.
He is an impressionist of the School of Allebé, better known as Amsterdam Impressionism, part of the international movement of the Impressionism.[2][3] From the art historical point of view he is one of the 2nd generation of the Hague School. He used the bright color palette of the French Impressionists, too – but from the perspective of a Dutchman.
Market at the Noorderkerk (North Church), AmsterdamA lady in the Alley by JH WijsmullerReview of the fishing trapsJan Hillebrand Wijsmuller in his studio early 1925
He won the Willink van Collenprijs for young artists by which he had been supported. This is awarded annually by the Amsterdam Academy Arti et Amicitiae. In 1883 he had won this award. The name of his work is no longer known.
In his creative works the former life of agile, thriving metropolis Amsterdam was immortalized. The opposite pole are landscape portraits. They include scenes canals, windmills and older landscapes with the day's work of fisherman. His repertoire is completed by the classic Dutch theme – the continuation of the tradition of the coastal landscape of the North Sea. He also made portraits of the people of The Hague and surroundings.
He was a representative of the realism and the plein air painting. In his paintings he combines the influences of the first period of the Hague School, the Barbizon School[9] and the Impressionists.[10]
In his paintings he cleverly uses his own visual language for the spatial extent and depth. His paintings live by the harmonious play of colors, sky, clouds, water and landscape. The lighting is living though the material interactions typical of the Netherlands seasons and climate.
From an art historical point of view he belongs to the Hague School, the School of Allebé, the Oosterbeek School, the Kortenhoef School and the Katwijk School.[11] It must be seen as a Dutch art movement of that time of impressionism.
His works are characterized by their unique craft skills. His expressions were sketches on paper, and oil on wood and canvas.
Cover of the catalogue of the exhibition from 1912: Stedelijke internationale tentoonstelling van kunstwerken van levende meesters, Stedelijk Museum, Amsterdam.
1903 Stedelijke internationale tentoonstelling van kunstwerken van levende meesters, Stedelijk Museum, Amsterdam.
1905 Collection of Arti et amicitiae and Pulchri Studio at Kunstverein in Hamburg[12]
1907 Stedelijke internationale tentoonstelling van kunstwerken van levende meesters, Stedelijk Museum, Amsterdam.
1912 Stedelijke internationale tentoonstelling van kunstwerken van levende meesters, Stedelijk Museum, Amsterdam.
In the dunes looking out to sea, Noordwijk aan Zee
A street scene, Katwijk
The church at Kortenhoef
Landscape, Blaricum
Pulling in the nets
Waterlilies
A river landscape
Trees in a field
Ducks in a forest fen
Cows at pasture
Wife with a pitch
Flowers in a vase
A summer's day at the beach
Bomschuiten on the beach, Egmond aan Zee
A shell fisher on the beach
Books
De Bodt, Saskia and Sellink, Manfred. Nineteenth Century Dutch Watercolors and Drawings, Museum Boijmans Van Beuningen, Rotterdam, 1998.
Carole Denninger-Schreuder: De onvergankelijke kijk op Kortenhoef: een schilderdorp in beeld, uitgeverij Thoth Bussum, 1998, ISBN90-6868-215-6, page 42 – 45.
De Leeuw, Ronald et al. The Hague School Dutch Masters of the 19th Century (1983)
Sillevis, John, Dutch Drawings From the Age of Van Gogh, Taft Museum, Cincinnati, Ohio, 1992.
John Sillevis: Katwijk in de schilderkunst, Katwijk Museum, Katwijk, 1995, ISBN90-800304-4-9.
Sillevis, John and Tabak, Anne, The Hague School Book, Waanders Uitgegevers, Zwolle, 2004.
Suyver, Renske. A Reflection of Holland: The Best of the Hague School in the Rijksmuseum (2011)
Wright, Christopher (1980): Paintings in Dutch Museums, Philip Wilson Publishers Ltd., London, ISBN0 85667 077 4
Publications
B. Bakker et al.: De verzameling Van Eeghen, Amsterdamsche tekeningen 1600–1950, Zwolle /Amsterdam 1988, p.438
C.L. Dake: Aanteekeningen over beeldende kunst, Utrecht 1915, p.75–76.
H.M. Krabbé: J.H.Wijsmuller, Elsevier's Geïllustreerd Maandschrift 4 (1894), p.233–247 en idem in: M.Rooses [red.], Het Schildersboek, [...], Dl 4, Amsterdam 1900, p.179–195.
J. Versteegh: Verandering tot die richting beteekent voor mij :zelfmoord – De kentering in de eerste tien jaren van Elsevier's Geïllustreerd Maandschrift, De Boekenwereld 20 (2003–2004), p.151.
RDK – Netherlands
Jonkman/Geudeker 2010, p.52, 53
Marius 1920, p.229
Scheen 1969–1970
Scheen 1981, p.597, afb.nr. 807 (als: Wijsmuller, Jan Hillebrand)
The art history knows two periods of Netherlandish painting. There are two names, first of all Rembrand van Rijn and in the 19th century the Hague School and its view of impressionism.
J.H. Kraan: Holland in zwang, in: De Haagse School, Ausst. Paris/London/Den Haag, 1983, S. 115–124. G. Reichwein: Vreemde gasten, kunstschilders in Volendam 1880–1914, Enkhuizen, Zuiderzee-museum, 1986.
De school von Barbizon. Franse meesters van de 19de eeuw, Ausst. Museum voor Schone Kunsten, Gent/Haags Gemeentemuseum, Den Haag/Institut Néerlandais, Paris, 1985/86; Hans Kraan und John Sillevis, in: The Barbizon School, Dutch collections, Ausst. National Museum of Arts, Osaka 1987.
