Simon Marisartist • painterDen Haag 1873-1935 Amsterdam

Simon Maris (1873-1935), eldest son of Willem Maris, belonged to the second generation of Maris artists. Under the watchful eye of his father, he started painting landscapes at an early age and at first it seemed that he would follow in his footsteps. But painting realistic landscapes did not appeal to him. He would eventually specialize in figure pieces and portraits in a light and colorful palette. Simon attended the academy in The Hague and enrolled in the Royal Academy of Fine Arts in Antwerp in 1895. With this he continued a family tradition: his uncles Matthijs and Jacob also studied for several years in Antwerp. It must have been a pleasant time for Simon at the Antwerp Academy. As the son of a celebrated painter, many doors opened for him and, moreover, he was not short of money. Due to the light, colorful palette, the result of a study period at the Antwerp academy and subsequent study trips to France and Italy, the work of Simon Maris clearly distinguishes itself from that of his father Willem Maris. He preferred to paint figures and portraits, for which after 1908 his wife Cornelia den Breejen and children Mies and Thijs often served as models. He occupied a prominent place in Amsterdam art life. Just after 1900 he painted and sketched along the Gein with Mondriaan and Arnold Gorter.
After his education he spent some time in Brussels and undertook study trips to Paris and Italy. He then definitively detached himself from The Hague and settled in Amsterdam, first on Leidsegracht and from 1902 on Keizersgracht 498. Both his home and his studio on the Spui became a meeting point for artists. Simon lived there as a bon vivant and actually ran a complete art and antiques business. He was an avid collector and, in addition to antiques, also traded work by his painting contemporaries. While posing, his rich portrait clientele received a Mondrian, a Maks, a 17th-century still life, a Japanese kimono, a Delft plate or the chair on which they sat.
Maris increasingly received portrait commissions from well-known people from society, the theater and university circles, where his smooth, graceful style garnered much appreciation. In addition to these portraits, he also painted young women, often reading, and mothers with children. During the summer, the family usually went to Zandvoort, where the artist frequently painted his family in addition to the fashionable beach life. Sometimes Simon also painted cityscapes, beach scenes, landscapes and still lifes.
Together with Piet Mondrian, with whom Simon would have a lifelong friendship from around 1899 and a group of friends, including Arnold Gorter, Simon often painted near Abcoude aan het Gein. They then continued to eat, drink and sometimes stay overnight in the 'De Vink' restaurant. There he met the young waitress, Cornelia den Breejen. She received singing lessons and was therefore called 'Nootje' by Simon instead of Neeltje or something like that. 'Nootje' was often asked to pose for Simon and his painter friends; having fun – sometimes for Simon with a borrowed baby – and later in Simon's studio on Keizersgracht. He often sent her cards with paintings on them, for her album. 'Dear Nootje, we did a good job last night, don't you have a headache anymore? Did you sleep well and study?' They eventually moved in together on Keizersgracht until they got married in 1908.
Simon occupied a prominent place in Amsterdam art life. In 1904/05 he was president of Sint Lucas, after 1907 he became mainly active within Arti et Amicitiae. He sat on several committees, was vice-chairman from 1919 to 1924 and represented Arti in the organization of exhibitions of Dutch art abroad.