top home

Léon Augustin  Lhermitte, Hooien

Léon Augustin  Lhermitte (1844-1925)
Hooien, 1887
Olieverf op doek, 216 x 264 cm
Van Gogh Museum, Amsterdam
(Vincent van Gogh Stichting)

Uitgebalanceerd
Op het eerste gezicht lijkt dit een spontane, ongedwongen weergave van een boerenfamilie op het veld, uitustend tijdens of na het hooien. De kunstenaar heeft echter niet zomaar een indruk gegeven van wat hij zag; hij heeft het tafereel waarschijnlijk grondig voorbereid door middel van studies en daarna - in zijn atelier - op het doek gezet. De compositie van het geheel is namelijk zorgvuldig uitgebalanceerd: de hoofden van de afgebeelde figuren vormen een halve cirkel, die het oog van de beschouwer langs alle personen heen de verte in leidt.

DE LARENSE SCHOOL

Het is opvallend hoe weinig schilderijen uit de Larense school een hooiberg bezitten terwijl Laren en Blaricum zoveel boerderijen hooibergen bezaten in de bloeitijd van de school.  Overigens is er een fraaie site gewijd aan de Larense school: http://www.devalk.com/kunstenaars/   waar onderstaande schilderijen ook te vinden zijn.

Co Breman , Larense school, rond 1900, boerderij met boer in Blaricum. Singermuseum Laren.

De betrokken boerderij werd onderverhuurd aan diverse schilders uit de Larense school

Margot Knipscheer

Op het eiland Urk kende men  volgens de wetenschappers uit de midden jaren van de 20e eeuw geen hooibergen . Maar.. bij de Ijsselacademie in Kampen bevindt zich een reproduktie van een olieverfschilderij  van de historieschilder Valentijn Bing (1812-1895) waarop de aankomst staat van de arts dr. Heinsius op Urk . Deze arts kwam eind 1845 de pokkenepidemie welke toen op Urk heerste bestrijden. En op het schilderij staat een vierroedige hooiberg , dichtgezet rondom tegen het brandgevaar  met horizontale planken. (bron 1) Kenmerkend voor de regio. (zie ook Vollenhoven)

Hooioogst op Marken door Johan   Mari ten Kate (1831-1913). Collectie Zuiderzeemuseum Enkhuizen.

Claude Monet

is bekend geworden door zijn serie oppers of mijten. Ze staan elders op de site. Klik

Ga naar het hoofdmenu, kies voor fotodatabases en dan Hooimijt en schilders om nog meer mijten te zien.! Of klik

Gauguin

Hay making in Brittany. 1888. Oil on canvas. Musee d' Orsay, Paris, France

top home

van Gogh

The Harvest, June 1888, Oil on canvas, Van Gogh Museum, Amsterdam

top home

Koekkoek

Hendrik Averkamp

top home

Uit de Hoogsteder collectie. zijn de volgende schilderijen:

Pieter de Neyn

Pieter de Neyn is one of many painters classified as followers of Jan van Goyen, along with Maerten van der Hulst (active 1630-45) Francois Knibbergen (1596/97-ca. 1665), Jan Coelenbier (d. after 1677) and Anthony van Croos (cat. no. 7). They were all contemporaries of Jan van Goyen, who was so prolific that he overshadowed the lot. Despite such relative obscurity, they were in many respects no less gifted than Van Goyen himself. In some cases a forged signature was added to their paintings; this happened to the Village View in the Kroller-Muller Museum, Otterlo, which was considered a genuine Van Goyen till 1950, when it was identified as being by Pieter de Neyn. Paintings by De Neyn have also been attributed to Salomon van Ruysdael in the past. As if to make matters still more confusing the engraver and landscape painter Pieter Nolpe (1613/14-1652/53) also used the initials PN . The resulting misattributions of De Neyn's works to Nolpe were disentangled by Gerson in 1947. Pieter de Neyn's village views are characterised by a simple design. The composition is usually closed on one side, and this part of the picture is painted in dark tones. The colours in the background, on the other hand, are lighter, allowing for a narrow view into the distance. The exhibited panel belongs to a tradition that goes back to prints of Flemish village views like those executed in the sixteenth century by the Antwerp master Joos van Liere. His example was imitated in seventeenth-century Holland by artists such as Claes Jansz. Visscher (1587-1652) and Esaias van de Velde (1587-1630). The print series Plaisante Plaetsen which Visscher published in about 1611 contains a number of village and country views from the vicinity of Haarlem. Shortly afterwards Esaias van de Velde executed his first prints and paintings of rural villages, works obviously known to Pieter de Neyn, for Esaias van de Velde was his teacher. This may well explain how the young artist from Leyden came to specialize in painting rustic village views.

Esaias van de Velde

Esaias van de Velde painted this panel during his Haarlem period. As regards composition and style it is closely related to his Winter Landscape, dated 1614, now in Raleigh, North Carolina, and must have been executed during this period. Both works have a simple, taut structure. In the exhibited panel the composition is divided by a frozen, gently curving country road. To the left of this we see an expanse of ice on which countless people are skating, and to the right some houses and barns. Further into the composition, on a perspectival line leading to the vanishing point, are three water mills. What we have here is undoubtedly a polder being drained. Whenever it was bitterly cold in the winter this work inevitably came to a standstill, and the ice on the flooded fields provided an endless source of skating enjoyment. With water literally all around, water mills were a familiar sight in Holland, some thousands being in use at the time. In this and similar compositions produced in the period after 1613 Esaias van de Velde approached his landscapes as sober, unpretentious subjects. In his 'wintertjes', or small winters, as winter scenes were often called in the seventeenth century, he broke with the older, Flemish tradition which is still clearly recognizable in the work of David Vinckboons, for instance (see cat. no. 42). Also worthy of mention are the winter landscapes of Hendrick Avercamp (1585-1635), the 'Mute of Kampen', who had been painting typical winter scenes in the Province of Overijssel several years before Esaias van de Velde. Avercamp had received his training in Amsterdam, in the first decade of the seventeenth century, and painted in the first instance in the tradition of the Flemish masters. Characteristic of this tradition are a high point of view and the inclusion of narrative elements, which together give such winter landscapes rather the air of tableaux vivants. The importance of Esaias van de Velde and the landscapes he began to paint in about 1613-14 is that these works represent a resolute break with the Flemish tradition. The Dutch landscape was presented faithfully, unadorned. This constituted a great step forward in the development of realistic landscape painting, and Esaias van de Velde deserves credit for providing an almost compulsive thrust towards this renewal.

Uit The Metropolitan Museum:

Pieter Breugel de oudere had wat met hooi.

Een leuke site over hem met al zijn werken is: http://www.abcgallery.com/B/bruegel/bruegel-2.html  

The Harvesters , 1565

Pieter Bruegel the Elder (Netherlandish, active by 1551, died 1569)
Rogers Fund, 1919 (19.164)

This panel is part of a series showing the seasons or times of the year, commissioned from Bruegel by the Antwerp merchant Niclaes Jongelinck. The series included six works, five of which survive. The other four are: "The Gloomy Day," "Hunters in the Snow," and "The Return of the Herd" (Kunsthistorisches Museum, Vienna); and "Haymaking" (National Gallery, Prague). This remarkable group of pictures is a watershed in the history of Western art. The religious pretext for landscape painting has been suppressed in favor of a new humanism, and Bruegel's unidealized observation of the local scene is unified by his profound understanding of Italian Renaissance compositional principles.

Drie details zijn uit dit schilderij overgenomen.

top home

Haymaking (1565)   

Oil on canvas, approximately 46 inches x 63 inches. National Gallery, Praag

Haymaking (July). Detail. 1565. Oil on panel. Narodni Gallery, Prague, Czechia

Haymaking (July). Detail. 1565. Oil on panel. Narodni Gallery, Prague, Czechia

Louis le Nain

1641
Oil on canvas, 56 x 72 cm
Musée du Louvre, Paris

Uit Escorial

Jeroen Bosch

(1450-1516)

Jeroen Bosch schilderde rond 1500 een hooiwagen in de omgeving van Den Bosch, als middendeel van een triptiek.

The Haywain Triptych exists in two versions, one in the Escorial, the other in the Prado, Madrid. Both are in poor condition and were heavily restored, it is uncertain which one is the original. The Haywain shows mankind given to sin, completely neglectful of God's law and unaware of the fate, which is awaiting them

Pisarro

Rustende Hooimakers, Haymakers Resting
1891 (210 Kb); Oil on canvas, 65.4 x 81.3 cm (25 3/4 x 32 in); McNay Art Institute, San Antonio, TX
Webmuseum Parijs: http://www.ibiblio.org/wm/paint/auth/pissarro   

top home

Isaac Levitan. 

Born in 1929. Professional training – Janis Rozentals Art School of Riga

(1949 – I 952), the Latvian Academy of Arts, Painting Department (1962 – 1958) under the supervision of Prof. E. Kalnins.
Has been contributing to exhibitions since 1956. Member of the Latvian Artists' Union since 1961. Member of Association "B 13" since 1993.
Had several solo shows: in Dole in 1982 (with I. Vecozols); at Naukseni in 1986; in Riga in 1989; in Valmiera and Cesis in 1989 (with S. Ozolina); in Munich in 1993 (with I. Vecozols), Osnabruk (1995). Has participated in group exhibitions in Latvia, Lithuania, Moscow, Germany, Japan, the USA, Canada, France and many other places.
His works are to be found in the collections of Latvia's Ministry of Culture and the Latvian Artists' Union, the Ministry of Culture of Russia and the Russian Art Fund, Tretiakov Gallery in Moscow, Wagner Gallery in Munich, as well as in the galleries and private collections of many countries.
Has received various awards for his creations. Currently professor at the Latvian Academy of Arts.

" I am fond of harmony in life, which has become a major theme in my art."

George Stubbs

Jacob van Ruischdael

1628/9? - 1682
A Cottage and a Hayrick by a River

top home

John Constable

1776-1837

The Hay Wain

NG1207.   Presented by Henry Vaughan, 1886.

Signed and dated: John Constable pinxt. London 1821. Constable's painting is based on a site in Suffolk, near Flatford on the river Stour. The hay wain, a type of horse-drawn cart, stands in the water in the foreground. Across the meadow in the distance on the right, is a group of haymakers at work. The cottage shown on the left was rented by a farmer called Willy Lott and stands behind Flatford Mill. Today, the cottage and river path are still much as they were in Constable's time.

Although the painting evokes a Suffolk scene, it was created in the artist's studio in London. Constable first made a number of open-air sketches of parts of the scene. He then made a full-size preparatory sketch in oil to establish the composition.

The painting was exhibited at the Royal Academy in 1821, the year it was painted, but failed to find a buyer. Yet when exhibited in France, with other paintings by Constable, the artist was awarded a Gold Medal by Charles X.