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拍品专文
When Isaac Israels moved to The Hague in 1922, he had to adjust to the placid atmosphere, a marked change from the more bustling life of Paris and London he was accustomed to. Nonetheless, he liked the city precisely because 'nothing ever happens here and there is no distraction like in Paris.' (see: Anna Wagner, Isaac Israels, Rotterdam 1967, p. 49). Between 1927 and 1934, he often went to the Scala Theatre in the Wagenstraat in The Hague. His fondness for all that glittered was still present in his later years and in the Scala he could observe the glamour of the entertainment world, not only from the public view, but also from backstage.
The present lot evokes the excitement before a performance and the chaotic dressing of several dancers as they prepare for that night's show. The woman in the foreground hastens to put on her gloves and the girl in the centre of the composition has not yet properly attached her head-piece. Israels' application of paint in quick loose brushstrokes enhance the dynamic atmosphere of the backstage area of the theatre.
Israels had been introduced to the Scala by his friend Alexander Vermolen, who was part of the group Israels socialized with in The Hague cafes. Israels eagerly made use of his access to the Scala and he could often be found sketching in the dressing rooms. He also liked to make drawings from the audience, portraying what was happening on stage. Several times Israels was charmed to such an extend by a show, that he would ask the group to pose the next day, without the distraction of the public. On one such occasion, he forgot to give the performers a break and one girl passed out. Israels, not aware of his responsibility, impassively said to the stage manager 'Er moet ook altijd wat gebeuren, mijnheer Van der Hoeven' (op.cit, p. 150). Despite the extravagant costumes and overwhelming decor, the most important element in Israels' Scala paintings remains the interplay of light, colour and movement, the three tenets that form the core of Impressionism.
The present lot evokes the excitement before a performance and the chaotic dressing of several dancers as they prepare for that night's show. The woman in the foreground hastens to put on her gloves and the girl in the centre of the composition has not yet properly attached her head-piece. Israels' application of paint in quick loose brushstrokes enhance the dynamic atmosphere of the backstage area of the theatre.
Israels had been introduced to the Scala by his friend Alexander Vermolen, who was part of the group Israels socialized with in The Hague cafes. Israels eagerly made use of his access to the Scala and he could often be found sketching in the dressing rooms. He also liked to make drawings from the audience, portraying what was happening on stage. Several times Israels was charmed to such an extend by a show, that he would ask the group to pose the next day, without the distraction of the public. On one such occasion, he forgot to give the performers a break and one girl passed out. Israels, not aware of his responsibility, impassively said to the stage manager 'Er moet ook altijd wat gebeuren, mijnheer Van der Hoeven' (op.cit, p. 150). Despite the extravagant costumes and overwhelming decor, the most important element in Israels' Scala paintings remains the interplay of light, colour and movement, the three tenets that form the core of Impressionism.