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Lot Essay
Isaac Israels is recognized as one of the leading artists of the Amsterdam Impressionist movement. His swiftly rendered compositions form a unique contribution to the development of the art of his day, as being truly modern in subject matter and style. Israels reveals himself to be a sharp observer of human pose and expression, able to capture the essence of a quickly passing moment in a few sweeps of his virtuous brush or pen. The only son of the famous painter Jozef Israels (1824-1911), Isaac's talent for drawing was recognized from a young age. Born in Amsterdam in 1872 he moved with his family to The Hague, where his father became one of the leading figures among the painters of The Hague School. After having first received training from his father, Isaac followed courses at the academy in The Hague in 1877-78 where he met George Hendrik Breitner (1857-1923). Dissatisfied with the cultural climate in The Hague, both artists moved to Amsterdam in 1886, where they soon became associated with the literary movement of the Tachtigers. With Breitner, he founded the so-called Amsterdam School of Impressionism, which replaced the rural motifs of The Hague School, painting by motifs from city life.
Isaac Israëls was a true offspring of the Fin-de-Siècle. The effervescent city life in Amsterdam together with the subject of women and the mondaine fashion world engaged Israels’ interest. He sought direct engagement with his subjects, both in sketches, and from 1894, in his en-plein-air paintings.
In the present painting, a beautiful exotic dancer on stage draws the attention of the viewer. The two young women in the background are watching the performance. Isaac Israels used to be seated amongst the audience or behind the wings while portraying what happened on stage. Several times Israëls was so charmed by a show, that he would ask the group to pose the next day in his studio, without the distraction of the public.
The present lot is a typical example of Israels’ mature painterly style and the artist clearly conveys his enthusiasm for the subject in this lively canvas. Fusing great vivacity with clarity of form and rhythm, the brushstrokes are bold and steadfast yet appear to vibrate with energy just like the subject matter.
Isaac Israëls was a true offspring of the Fin-de-Siècle. The effervescent city life in Amsterdam together with the subject of women and the mondaine fashion world engaged Israels’ interest. He sought direct engagement with his subjects, both in sketches, and from 1894, in his en-plein-air paintings.
In the present painting, a beautiful exotic dancer on stage draws the attention of the viewer. The two young women in the background are watching the performance. Isaac Israels used to be seated amongst the audience or behind the wings while portraying what happened on stage. Several times Israëls was so charmed by a show, that he would ask the group to pose the next day in his studio, without the distraction of the public.
The present lot is a typical example of Israels’ mature painterly style and the artist clearly conveys his enthusiasm for the subject in this lively canvas. Fusing great vivacity with clarity of form and rhythm, the brushstrokes are bold and steadfast yet appear to vibrate with energy just like the subject matter.