| Broek in Waterland | |
|---|---|
 | |
| Artist | Jan Toorop |
| Year | 1889 |
| Type | Oil painting on canvas |
| Dimensions | 69 cm× 76 cm(27 in× 30 in) |
| Location | Indianapolis Museum of Art, Indianapolis |
Broek in Waterland is an 1889 oil painting by Dutch-Indonesian artist Jan Toorop, located in the Indianapolis Museum of Art in Indianapolis, Indiana. It is a pointillist image of the Dutch village of Broek in Waterland at twilight. [1]
After Seurat's work premiered in Brussels in 1887, Toorop eagerly added those methods to his own repertoire. He became the most influential Dutch Neo-Impressionist, although his canvases in that style are rare and he frequently ignored that school's tenants, particularly the color principles. Their pointillist brushwork he used more readily, as in this painting. The couple gliding through the water may reflect his empathy for working men and women, a common Neo-Impressionist sentiment.
Toorop gave this landscape a very strong, geometrical structure. The sharply receding diagonals of the canals are echoed by the naked trunks of the pollard willows. These intersect with the ribbons of color in the sunset, its rosy hues firmly contrasting with the deep blues and greens of the landscape below. [2] Broek in Waterland was once coveted by the director of the Boymans Museum, who lauded its "'simple, usually disciplined structure,' 'distinction,' and controlled 'rhythmic composition.'" [3]
In February 1889, Toorop traveled to Broek in Waterland with Emile Verhaeren, the Belgian poet and critic. Later that year, he painted this vivid image of the picturesque village, whose beauty had drawn emperors and tsars for centuries. [4]
Broek in Waterland was acquired by the IMA in 2002 as a gift in memory of Robert S. Ashby by his family and friends. It currently hangs in the Robert H. & Ina M. Mohlman Gallery and has the acquisition number 2002.156. [2]
Pointillism is a technique of painting in which small, distinct dots of color are applied in patterns to form an image.
Johannes Theodorus 'Jan' Toorop was a Dutch-Indonesian painter, who worked in various styles, including Symbolism, Art Nouveau, and Pointillism. His early work was influenced by the Amsterdam Impressionism movement.
Henri-Edmond Cross, born Henri-Edmond-Joseph Delacroix, was a French painter and printmaker. He is most acclaimed as a master of Neo-Impressionism and he played an important role in shaping the second phase of that movement. He was a significant influence on Henri Matisse and many other artists. His work was instrumental in the development of Fauvism.
Maximilien Luce was a prolific French Neo-impressionist artist, known for his paintings, illustrations, engravings, and graphic art, and also for his anarchist activism. Starting as an engraver, he then concentrated on painting, first as an Impressionist, then as a Pointillist, and finally returning to Impressionism.
Neo-Impressionism is a term coined by French art critic Félix Fénéon in 1886 to describe an art movement founded by Georges Seurat. Seurat's most renowned masterpiece, A Sunday Afternoon on the Island of La Grande Jatte, marked the beginning of this movement when it first made its appearance at an exhibition of the Société des Artistes Indépendants in Paris. Around this time, the peak of France's modern era emerged and many painters were in search of new methods. Followers of Neo-Impressionism, in particular, were drawn to modern urban scenes as well as landscapes and seashores. Science-based interpretation of lines and colors influenced Neo-Impressionists' characterization of their own contemporary art. The Pointillist and Divisionist techniques are often mentioned in this context, because it was the dominant technique in the beginning of the Neo-impressionist movement.
Albert Dubois-Pillet was a French Neo-impressionist painter and a career army officer. He was instrumental in the founding of the Société des Artistes Indépendants, and was one of the first artists to embrace Pointillism.
Théophile "Théo" van Rysselberghe was a Belgian neo-impressionist painter, who played a pivotal role in the European art scene at the turn of the twentieth century.
Luminism is a late-impressionist or neo-impressionist style in painting which devotes great attention to light effects.
The Indianapolis Museum of Art (IMA) is an encyclopedic art museum located at Newfields, a 152-acre (0.62 km2) campus that also houses Lilly House, The Virginia B. Fairbanks Art & Nature Park: 100 Acres, The Gardens at Newfields, the Beer Garden, and more. It is located at the corner of North Michigan Road and West 38th Street, about three miles north of downtown Indianapolis, northwest of Crown Hill Cemetery. There are exhibitions, classes, tours, and events, many of which change seasonally. The entire campus was previously referred to as the Indianapolis Museum of Art, but in 2017 the campus and organization were renamed "Newfields" to better reflect the breadth of offerings and venues. The "Indianapolis Museum of Art" now specifically refers to the main art museum building that acts as the cornerstone of the campus, as well as the legal name of the organization doing business as Newfields.
The Two Sisters, also known as The Serruys Sisters is an 1894 oil painting by Belgian artist Georges Lemmen, located in the Indianapolis Museum of Art, which is in Indianapolis, Indiana. It uses pointillism to depict the sisters Jenny and Berthe Serruys.
The Channel of Gravelines, Petit Fort Philippe is a pointillist painting by French artist Georges Seurat, located in the Indianapolis Museum of Art in Indianapolis, Indiana. Painted in 1890, the year before his death, it depicts a harbor in the small French port of Gravelines. Described as "wistful and poetic," it is one of the treasures of the IMA.
The House of the Deaf Woman and the Belfry at Eragny is an 1886 oil painting by French artist Camille Pissarro, located in the Indianapolis Museum of Art, which is in Indianapolis, Indiana. It is a view of Pissarro's neighbor's yard in Eragny, created during his brief period of experimentation with pointillism.
The Banks of the Oise near Pontoise is an 1873 oil painting by French artist Camille Pissarro, located in the Indianapolis Museum of Art, which is in Indianapolis, Indiana. It depicts the river Oise near the market town of Pontoise.
The Lagoon of Saint Mark, Venice is an oil on canvas painting by Paul Signac. This painting focuses on a seascape image which became a common theme late in Signac's life.
Baigneuses: Deux nus dans un paysage exotique is an oil painting created circa 1905 by the French artist and theorist Jean Metzinger (1883–1956). Two Nudes in an Exotic Landscape is a Proto-Cubist work executed in a highly personal Divisionist style during the height of the Fauve period. The painting is now in the Carmen Thyssen-Bornemisza Collection, Spain.
Coucher de soleil no. 1 is an oil painting created circa 1906 by the French artist and theorist Jean Metzinger (1883–1956). Coucher de soleil no. 1 is a work executed in a mosaic-like Divisionist style with a Fauve palette. The reverberating image of the sun in Metzinger's painting is an homage to the decomposition of spectral light at the core of Neo-Impressionist color theory.
Afternoon Tea is a 1910 oil painting by American artist Richard E. Miller, located in the Indianapolis Museum of Art, which is in Indianapolis, Indiana. Like many of Miller's paintings, it depicts women in a sunny scene, filled with flowers, depicted in his Impressionist style with a distinct flavor of Japonism.
Le Chahut is a Neo-Impressionist painting by Georges Seurat, dated 1889-90. It was first exhibited at the 1890 Salon de la Société des Artistes Indépendants in Paris. Chahut became a target of art critics, and was widely discussed among Symbolist critics.
Maria Sèthe at the Harmonium is an oil on canvas painting by the Belgian neo-impressionist painter Théo van Rysselberghe. The painting depicts a woman with blonde, worn-up hair and a purple dress staring dreamily into space, while smiling. The sitter was Maria Sèthe, who belonged to an affluent musical family with an interest in the arts. In the painting, she is depicted sitting at a harmonium, but she's not playing it.
Sailboats and Estuary is an oil on canvas painting by Belgian painter Théo van Rysselberghe. Painted around 1887, it shows a coastal landscape elaborated in a Pointillist technique. Van Rysselberghe probably adopted the Pointillist manner after befriending Signac; however, the use of color in Sailboats and Esuary is nonetheless far more realistic than in paintings by Signac and other Neo-Impressionists, and reveals a tendency towards naturalism. The artwork has been in the collection of the Musée d'Orsay in Paris since 1982, on loan from the Louvre.
