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Woman, mother, muse, model, independent artist

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Daan van Golden | Brigitte Bardot, screenprint on paper, 109.0 x 79.0 cm, signed l.r. and dated '92

Daan van Golden

prints & multiples • for sale

Brigitte Bardot, 1992

Ary Scheffer | Maria Magdalena in extacy, oil on canvas, 94.9 x 64.1 cm, signed c.l. and dated 1855

Ary Scheffer

painting • for sale

Maria Magdalena in extacy, 1855

Virtually no subject is as much in visual art, and depicted in as many different forms as women. We see her depicted as Mary, Venus and muse, as ruler, as mother, “belle”, woman of the world, femme fatale and temptress. For the symbolist artists, who at the end of the 19th century were inspired by myths, literature, dreams and emotions, woman faces man as a different creature: as a personification of the highest virtue, but also as a witch, sphinx and unscrupulous creature, such as biblical Delilah and Salome. In short, they see her as a saint or sinner.

Josef Oppenheimer | Portrait of a lady smelling sweetpeas, oil on canvas, 68.8 x 51.3 cm, signed u.l. and dated 'London' 1904

Josef Oppenheimer

painting • for sale

Portrait of a lady smelling sweetpeas, 1904

Arjen Galema | A couple on a sofa, oil on canvas, 53.5 x 63.3 cm

Arjen Galema

painting • for sale

A couple on a sofa

Toon Kelder | Reclining nude, oil on painter's board, 69.4 x 88.1 cm, signed l.r.

Toon Kelder

painting • for sale

Reclining nude

Adolf Höfer | A lady with a straw hat and parasol, oil on canvas laid down on board, 63.3 x 45.8 cm, signed r.c. with initials

Adolf Höfer

painting • for sale

A lady with a straw hat and parasol

Around 1830-1840 there is an emerging middle class in Western Europe (civil servants, industrialists, traders). People lead a relatively simple life, in which virtues such as maternal love, domesticity, loyalty and self-control are highly regarded. In painting this translates into domestic paintings of mothers with their children, which they teach, for example, while reading. The decor is usually simple yet tasteful, with a single precious rug or a brocade tablecloth in reference to a certain wealth.

Jan Rijlaarsdam | The musician and his muses, oil on canvas, 90.3 x 60.7 cm, signed l.l.

Jan Rijlaarsdam

painting • for sale

The musician and his muses

Willem Paerels | Woman at a mirror, oil on canvas, 50.0 x 40.0 cm, signed l.l. and painted 1922

Willem Paerels

painting • for sale

Woman at a mirror, 1922

Hobbe Smith | Mother and child, oil on panel, 46.3 x 36.6 cm

Hobbe Smith

painting • for sale

Mother and child

Toon Kelder | Mother, feeding her baby, oil on canvas, 68.5 x 54.2 cm, signed u.l.

Toon Kelder

painting • for sale

Mother, feeding her baby

Mundane ladies and maids

Jan Sluijters | Seated nude with still life, oil on canvas, 116.7 x 140.3 cm, signed c.l. and painted ca. 1927

Jan Sluijters

painting • for sale

Seated nude with still life, ca. 1927

In the second half of the 19th century, the growth of trade, industry, science and technology caused social changes. People are becoming more well-off and more opportunities are emerging for women. Fashion changes and sophisticated ladies take to the streets and visit the theater, terraces, cafes and shops. Rural girls move to the city to work in factories or find employment as maidservants or shop assistants. Painters such as Isaac Israels and George Hendrik Breitner portray them cheerfully and confidently. In 1904, after his studies at the Academy, modernist Jan Sluijters taught himself a fast, free way of working and painted the vibrant nightlife on Montmartre. He does not idealize and paints the raw, colourful Parisian city life with its beauty and fleeting passions. After criticism from the Rijksacademie and withdrawing his travel allowance, he returns to the Netherlands in 1907, but women remain a popular subject. His second wife Greet is his muse and appears in many of his works. Anyone who surveys his oeuvre now and then detects a slightly decadent undertone in his portraits, dancers and nudes of later years, reminiscent of his Parisian flail years.

In 1903 Maurits Niekerk exchanges the silence of the Flemish countryside for the hustle and bustle of Brussels, where he will live for a few years to paint the city and nightlife, before traveling to Paris.

Maurits Niekerk | An omnibus in the city at night, oil on canvas, 115.5 x 85.3 cm, signed l.r. and dated 1919

Maurits Niekerk

painting • for sale

An omnibus in the city at night, 1919

Maurits Niekerk | A night out in Brussels at the Place de la Bourse, oil on canvas laid down on panel, 55.9 x 70.0 cm, signed l.l. and painted ca. 1903-1908

Maurits Niekerk

painting • for sale

A night out in Brussels at the Place de la Bourse, ca. 1903-1908

Maurits Niekerk | Waiting carriages by night, Brussels, oil on board, 61.3 x 84.5 cm, signed l.r. and painted ca. 1903-1908

Maurits Niekerk

painting • for sale

Waiting carriages by night, Brussels, ca. 1903-1908

Maurits Niekerk | Lady in front of the mirror, oil on canvas, 54.3 x 44.5 cm, signed l.r.

Maurits Niekerk

painting • for sale

Lady in front of the mirror

The Fleming George Minne, who is considered the most important symbolist sculptor in his country, does not care about all social changes and moves in 1898 at the age of 32 with his family to the tranquility of the artists’ village of Sint-Martens-Latem. With the exception of the war years 1914-1918 he will remain faithful to this village all his life. This is where his first works emerge on the recurring theme “Mother and Child”: beautiful, religiously inspired charcoal drawings with swirling movements and sculptures in an angular, strict style. From the second half of the twenties he developed a more realistic form language. During the war years he moved to Wales with his family, where he was too restless to sculpt but where he continued his series of charcoal drawings of “Mother and Child”. The theme is now partly motivated by the fear and despair of him and his wife about the fate of their three oldest sons who have remained in Belgium to fight at the front.

Ludovic Alleaume | Under the chestnut tree, oil on canvas, 46.0 x 55.0 cm, signed l.l.

Ludovic Alleaume

painting • for sale

Under the chestnut tree

Henri Fantin-Latour | Trois baigneuses, oil on canvas, 65.1 x 54.0 cm, dated 25 Août 1904

Henri Fantin-Latour

painting • for sale

Trois baigneuses, 1904

Reinier Willem Kennedy | The source of life, oil on canvas, 65.0 x 100.0 cm, signed l.r.

Reinier Willem Kennedy

painting • for sale

The source of life

George Minne | Mother and child, bronze, 75.2 x 33.0 cm, signed on the base and dated 1929

George Minne

statue • sculpture • for sale

Mother and child, 1929

Wrestling, innovation and female artists

Margaretha Roosenboom | Roses on a Spanish guitar, oil on canvas, 110.8 x 75.9 cm

Margaretha Roosenboom

painting • for sale

Roses on a Spanish guitar

Henriette Ronner-Knip | Two dog heads, oil on panel, 20.8 x 17.0 cm, signed l.r. with monogram

Henriette Ronner-Knip

painting • for sale

Two dog heads

Maria van der Voort in de Betouw-Nourney | Poppies in a vase, oil on canvas, 79.7 x 66.8 cm, signed l.l.

Maria van der Voort in de Betouw-Nourney

painting • for sale

Poppies in a vase

Maria van Nieuwenhoven-Stempels | A flower still life, oil on canvas, 56.0 x 46.0 cm, signed u.r.

Maria van Nieuwenhoven-Stempels

painting • for sale

A flower still life

Today, female artists are mainly concerned with painting and watercolors of traditional women’s subjects, such as (flower) still lifes and animal paintings. In the world of art, women also had to fight for their independence in the 19th century. No matter how virtuous and useful the practice of painting for women of the higher class is considered, making a profession of art is seen as the opposite of their nature and nature. Only in 1861 did women gain access to art education at academies and drawing schools, which gradually changed this view. As a result, we see a number of particularly innovative female artists emerging in the early 20th century. They venture into unknown territory, both socially and artistically, experiment with form and color and turn away from the traditional female themes.

Mies Elout-Drabbe | Autumn in Domburg, oil on canvas, 69.9 x 54.9 cm, signed l.r. and dated 'Domburg' 1912

Mies Elout-Drabbe

painting • for sale

Autumn in Domburg, 1912

Jacoba van Heemskerck van Beest | Parkview, Domburg, oil on board, 45.0 x 51.0 cm, painted ca. 1911

Jacoba van Heemskerck van Beest

painting • for sale

Parkview, Domburg, ca. 1911

Tjitske Geertruida Maria van Hettinga Tromp | Eggs in a Wedgwood bowl, oil on canvas, 24.8 x 30.4 cm, signed c.r. with monogram and dated 1929

Tjitske Geertruida Maria van Hettinga Tromp

painting • for sale

Eggs in a Wedgwood bowl, 1929

Sientje Mesdag-van Houten | Garden flowers with Cone-flowers, watercolour on paper, 27.3 x 18.2 cm, signed l.c. with Initials

Sientje Mesdag-van Houten

watercolour • drawing • for sale

Garden flowers with Cone-flowers

Charlotte van Pallandt | A woman with an apple, lead, 12.0 x 12.5 cm, signed on the base and executed 1952

Charlotte van Pallandt

statue • sculpture • for sale

A woman with an apple

Charlotte van Pallandt (1898-1997) is one of them. After her divorce in 1923, she wrestled from her predestined life by nobility and opted for a career as an artist at the age of 25. Back in the Netherlands, after a drawing course in Paris, she opted for sculpture. She is best known for her portraits and female nudes in a robust style in which strength and quirkiness resound. With the exception of a cubist period in the 1920s and an abstract period in the 1960s, she mainly works in a realistic way, sometimes modeling roughly, then refining.

A woman with apple is probably part of the series of small Truus figurines from 1952, so named after the much sought-after model Truus Trompert, who regularly poses for Van Pallandt from 1943 onwards. Because of her professional dedication, she was already working full-time as a model for several sculptors. Charlotte van Pallandt particularly likes to work with her because the model feels exactly what is expected of her and has said about Truus: “Each of her attitudes was an image.” Van Pallandt is not only one of the first independent female artists in the Netherlands, but is considered one of the most important Dutch sculptors of the 20th century.

Johannes Weiland | Artist in his studio, oil on canvas, 49.2 x 37.7 cm, signed l.r.

Johannes Weiland

painting • for sale

Artist in his studio

Bert Kiewiet | Minja, bronze, 92.0 x 31.0 cm, signed on the base

Bert Kiewiet

statue • sculpture • for sale

Minja

Jan Sluijters | Standing female nude, seen on the back, charcoal and watercolour on paper, 61.9 x 47.6 cm, signed l.c. with initials and executed ca. 1920

Jan Sluijters

watercolour • drawing • for sale

Standing female nude, seen on the back, ca. 1920

 

Waldemar Otto | Reclining female nude, bronze, 39.0 x 95.0 cm, signed with monogram under right foot and dated '88

Waldemar Otto

statue • sculpture • for sale

Reclining female nude