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拍品专文
From the late 1870's Isaac Israels travelled to Paris annually with his family, in order to visit the Salon des Artistes. Through these visits, and through later trips with his close friend the essayist Frans Erens (1857-1935), Isaac became familiar with new and innovative Parisian artists and writers including Toulouse-Lautrec (1864-1902) , Berthe Morisot (1841-1895) and Emile Zola (1840-1902). Isaac eventually moved from Amsterdam to Paris in the spring of 1903, where he remained for ten years. Israels opened a studio on the Boulevard de Clichy, and during his years in Paris he portrayed his impressions of Parisian life with paintings, drawings and watercolours. During these Parisian years Israels spent time with various other Dutch artists including Marius Bauer (1867-1932), Kees van Dongen (1887-1968) and Jan Toorop (1858-1928).
Isaac's command of the French language was fluent, and according to sources, he even had a Parisian accent. Isaac was greatly inspired by the beautiful young Parisiennes whom he chanced upon in parks such as the Bois de Boulogne and Parc Monceau. Many of his other subjects were seen strolling along the Champs Elysèes or sitting in the café's such as the Moulin Rouge and the Moulin de la Galette, as well as restaurants such as Le Perroquet. The present lot is a striking example of a café scene. As Isaac Israels wrote to his friend Henry Asselin, he painted for his own pleasure: 'Je peint pour m'amuser'. His joy is apparent in the way he renders the flurry and commotion of Paris, and the spectacular dynamic of his brushwork, his bold and firm brushstrokes are filled with movement. Although Israels paints with enormous energy, this does not affect the perfection of his composition. The sitter's flirtatious glance lures the spectator into the scene. Isaac did not paint with the purpose of a detailed finish, conveying the subject and impression remained the most important. This was in stark contrast to the French impressionists, who were more concerned with portraying elaborate effects of light, sun and colour. While his work was very 'French' for Dutch standards, his palette is considerably darker than most of his French impressionist contemporaries. Nonetheless, typical of this period is his use of a relatively light palette, and rapid brushstrokes as seen in the present lot. In his Parisian period, Israels exhibits a preference for delicate pastels and a light and transparent oil paint.
Isaac's command of the French language was fluent, and according to sources, he even had a Parisian accent. Isaac was greatly inspired by the beautiful young Parisiennes whom he chanced upon in parks such as the Bois de Boulogne and Parc Monceau. Many of his other subjects were seen strolling along the Champs Elysèes or sitting in the café's such as the Moulin Rouge and the Moulin de la Galette, as well as restaurants such as Le Perroquet. The present lot is a striking example of a café scene. As Isaac Israels wrote to his friend Henry Asselin, he painted for his own pleasure: 'Je peint pour m'amuser'. His joy is apparent in the way he renders the flurry and commotion of Paris, and the spectacular dynamic of his brushwork, his bold and firm brushstrokes are filled with movement. Although Israels paints with enormous energy, this does not affect the perfection of his composition. The sitter's flirtatious glance lures the spectator into the scene. Isaac did not paint with the purpose of a detailed finish, conveying the subject and impression remained the most important. This was in stark contrast to the French impressionists, who were more concerned with portraying elaborate effects of light, sun and colour. While his work was very 'French' for Dutch standards, his palette is considerably darker than most of his French impressionist contemporaries. Nonetheless, typical of this period is his use of a relatively light palette, and rapid brushstrokes as seen in the present lot. In his Parisian period, Israels exhibits a preference for delicate pastels and a light and transparent oil paint.