Sander Bink – Page 2 – { feuilleton }

The art of Antoon van Welie, 1866–1956

The Artists’ Studio (1906).

This week’s post is another by Sander Bink about a neglected artist of the Dutch fin de siècle. There’s no need for me to add a great deal to Sander’s appraisal below other than to point out the evident debt that Antoon Van Welie seems to owe to the Pre-Raphaelites for whom Ophelia was a popular subject. British artists of the 19th century have often been criticised for adding little to the evolution of Continental art but the influence of the Pre-Raphaelites and the Arts and Crafts movement pervades European Symbolism. My thanks again to Sander for the post.

* * *

Antoon van Welie (Dutch Wikipedia only) was a Dutch painter known mainly for his portraits of the rich and famous. Around 1900 his work was praised by writers and critics such as Camille Mauclair, Jean Lorrain and Anatole France. He had studios in The Hague, London, Paris and The Vatican. There’s not much information about him in English, and for a long time there wasn’t a great deal in Dutch either, since during his lifetime he was already more or less forgotten. His being openly gay could have been one of the reasons. Male beauty is one of his subjects, as illustrated by The Artists’ Studio. His preference for depicting Catholic priests and flamboyant society ladies might also have been a little too extravagant for Dutch artistic standards of the period. The influence of Symbolism and mysticism on his work sets him a little apart from the crowd as well. All this does make him somewhat of a “decadent” or fin de siècle artist. What surely did not help his posthumous fame was a portrait of Mussolini he painted in 1921, and apparently he later also made one of Hitler. But in 2003 he was rescued from art-historical oblivion by the good people of the Louis Couperus Museum in The Hague. An exhibition there was followed in 2007 by a larger one at Museum Het Valkhoff in Nijmegen: The Last Decadent Painter. The book published for the occasion gives an extensive overview of Van Welie’s life and oeuvre but is unfortunately only available in Dutch.

The portraits which made him famous in his day are, in my opinion, technically not that great and sometimes tend toward kitsch. More subtle and beautiful are his early Symbolist works which, like those by Simon Moulijn, are strongly influenced by Maeterlinck’s neo-mystical writings.

Aglavaine en Sélysette (1899).

Some quite refined examples are the lithograph Aglavaine en Sélysette and the pastel Les Princesses de Légende, both directly inspired by Maeterlinck’s plays.

Les Princesses de Légende (1899).

Ophelia.

Literature was an important influence, as it was for many other Symbolist painters, and Van Welie duly produced the pastel Ophelia in 1898–’99. The same goes for musical themes, an example of which is the serene pastel Holy Cecilia with Lyre.

Holy Cecilia with Lyre (1899).

He also designed book covers like the one for Jean Lorrain’s novel Ellen from 1906.

La Douleur (1895).

But his most attractive work and as far as I am concerned one of the finest works of 1890s Dutch art is the chalk drawing La Douleur. Although the title emphasizes the young lady’s suffering, she also seems to be in a (sexual) ecstasy. A paradoxical beauty like Baudelaire’s femmes damnées: “de terribles plaisirs et d’affreuses douceurs”.

Sander Bink

Elsewhere on { feuilleton }
• The gay artists archive

Previously on { feuilleton }
• The art of Simon Moulijn, 1866–1948
• René Gockinga revisited
• Gockinga’s Bacchanal and an unknown portrait of Fritz Klein
• More from the Decadent Dutch

The art of Simon Moulijn, 1866–1948

Landscape, Drenthe (1896). Collection Hein Klaver.

Sander Bink’s previous guest posts here concerned some of the forgotten artists of the Dutch fin de siècle, in particular the Beardsley-inspired work of René Gockinga. This new post from Sander is more Symbolist-oriented, with a look at the work of another Dutch artist.

* * *

Simon Moulijn was a Dutch painter and graphic artist whose work shows a striking affinity with European Symbolism, in particular his prints and paintings made in the 1890s which would appear to provide a link between Dutch Realism and mystical Symbolism. Beyond their historical context, these are simply beautiful pictures which is, of course, the most important thing.

Cover design for Nachtsilene, 1902.

Landscapes were Moulijn’s main theme; some bring to mind the land- and cityscapes of Fernand Khnopff in which the world has become silent: a serene, quiet world, free from the noise and misery of modern life. “Anywhere out of this world”, but within the world we already know. Although not “Decadent” like Khnopff—there are no femmes fatales in his landscapes—Moulijn must certainly have been inspired by Khnopff and similar artists. Van Gogh and Jan Toorop were important for Moulijn as well. That Moulijn was well-versed in Symbolism and other new art forms at the time such as Art Nouveau is evidenced by his exhibition at Siegfried Bing’s Paris Gallery in 1895. Like many of the artists of his generation, he was greatly inspired by the mystical writing of Maeterlinck. No wonder, then, that he designed book covers and illustrations for Marie Marx-Koning, a Dutch writer unjustly neglected today, whose novels and stories also show a strong affinity with European mystical Symbolism.

Night (1893). Lithograph.

These qualities are already exemplified by Moulijn’s first printed work, the lithograph Night from 1893 which depicts a traditional Dutch subject, a farm; but there are no peasants, and the nightly tones and silence make it look more like a farm from an Ingmar Bergman film than a landscape by his painter contemporaries from The Hague School.

Farm at Diphorn (1896). Gemeentemuseum Den Haag.

Spring (1896). Drents Museum.

Autumn (1895). Drents Museum.

An 1896 painting with the same subject, Farm at Diphorn, brings to mind the imaginary landscapes of Félix Vallotton, as do, more or less, two pastels which I personally feel to be his best: Spring and Autumn. Once again, the coloured areas in these Symbolist landscapes are reminiscent of a Vallotton or Franz Melchers. But where Vallotton’s landscapes might be characterised as psychological landscapes, these two by Moulijn are almost abstract experiments in colour.

Vampire (1916). Collection Van Wezel.

Finally mention must be made, for curiosity’s sake and to satisfy the reader’s Decadent needs, of the 1916 coloured lithograph Vampire. This demonstrates Moulijn’s affinity with a more Decadent Symbolism, although by this time the style was increasingly outmoded.

Sander Bink

Previously on { feuilleton }
• René Gockinga revisited
• Gockinga’s Bacchanal and an unknown portrait of Fritz Klein
• More from the Decadent Dutch

René Gockinga revisited

Presenting another guest post by Sander Bink concerning drawings by Dutch artists from the early decades of the 20th century, several of which show a distinct Beardsley influence. There’s also more than a little Harry Clarke in some of the details, especially the large Salomé picture below. Sander examines the provenance.

* * *

In our ongoing research into the influence of Aubrey Beardsley and Carel de Nerée in Dutch art of the early twentieth century, René Gockinga must be one of the most elusive. We wrote about him earlier but in the meantime we spoke to someone who has known him in the latter years of his life (he died 1962 in Amsterdam), she could not tell us more about the whereabouts of his early Beardsley-esque works. His more traditional Indonesian paintings from the 1930s sometime turn up at auction and I have also seen some samples of his post-WWII abstract paintings.

But of course, it’s the early, ‘decadent’ work, we’re most interested in. The RKD (Netherlands Institute of Art History) has pictures of about five of these, for the time being, lost drawings. So the Klein portrait was of course a great find. We were quite content and never dreamed of finding more unknown Gockinga’s (we do not know the whereabouts of the Salomé reproduced in the earlier post).

So one can image our surprise when we recently received an email from an art lover from Florida who had stumbled upon three drawings by Gockinga. At an Atlanta, Georgia antique show of all places! But then again: Gockinga has lived in New York from 1924 till 1932 or possibly 1938. At some point he might have sold his early work?

However it is, these are great and as far as we know never before seen examples of a quite talented but also quite obscure and neglected Dutch artist from the period. I suspect the main reason for this neglect could be due to the nature of his work which was probably too homo-erotic and pornographic for the (Dutch) public. As far as we know, he only had one exhibition where his Beardsley- and De Nerée influenced work was shown. That took place summer 1917 at the d’Audretsch gallery, The Hague. This gallery which owned a large collection of work by De Nerée and Gockinga must have seen his work there. Otherwise they could have seen his work someplace else at the early De Nerée exhibitions which took place 1910–1917.

In the first drawing presented here the De Nerée influence is apparent in the use of the golden painted background, a technique De Nerée applied in several works from around 1903, like La Promeneuse (below; collection Meentwijck).

Continue reading “René Gockinga revisited”

Gockinga’s Bacchanal and an unknown portrait of Fritz Klein

Bacchanal by René Gockinga.

A guest post today by Sander Bink who generously translated his latest piece of research into the Dutch artists of the early 20th century who took the Beardsley style as a foundation for their own black-and-white delineations. As with this earlier post on the subject, many of these drawings are very good but the artists are less well-known than the Beardsley followers in other countries who were their contemporaries. Here’s Sander.

* * *

Ladies and gentlemen, welcome to another episode of ‘Droomkunst’. This time we’ll discuss our cult hero Joseph René Gockinga who has a drawing exhibited at the Singer Museum Droomkunst exhibition. An obvious choice, because how often do you see his work—which I wrote about more in detail here—in a museum? Almost never. In 1976, two works by Gockinga were shown in the Kunstenaren der Idee exhibition but unfortunately I was only just born that year. The current locations of these works by the way is still unknown to me.

Salomé by René Gockinga.

One of them, however, Gockinga’s version of Salomé, resurfaced in 1995 but I don’t know the current location either. And the acclaimed Louis Couperus Museum last year showed an unknown Couperus illustration of Gockinga from a private collection (no, not mine). In Droomkunst now hangs a small but fine work in a similar style: the Bacchanal already mentioned here. The Droomkunst catalogue dates the work about 1915. I would dare to date is somewhat earlier, I think 1913.

In his opening speech Singer director de Lorm compared Gockinga’s Bacchanal with the work of Erwin Olaf because of the hedonistic, decadent parallels between the two works. If I remember correctly, de Lorm also talked about certain places preferred by these artists, in addition to the perverse, decadent, decayed Amsterdam also Indonesia and especially Java, which was known as a kind of international gay colony.

Now, our Gockinga has also dwelled there; I do not know exactly where and when, but—and this is information that surfaced after my earlier mentioned article was published—he lived in the late thirties in Bali for a while in the home of the renowned painter W.G. Hofker. And in a recent study Imagining Gay Paradise: Bali, Bangkok, Singapore and cyber-Singapore we read that Gockinga was one of the victims of a scandal; he was arrested because of his homosexuality in December 1938 in Denpasar. Here, the comparison with the 2000 generation of artists limp, which, after all, in Amsterdam and elsewhere were partying without having fears of being arrested for lewd behaviour.

Fritz Klein by René Gockinga.

Where several generations of artists do come together is in the following, in our humble opinion a very nice item that was sent us last year. The majority of Gockinga’s Beardsley and the Nérée-like drawings from around 1917 are still unfortunately lost. Probably the “immoral” nature of his work is the main reason. So the item presented here is, as far as we know for the first time, is a new discovery.

It is a Beardsley-like portrait from 1917 or thereafter and it portrays none other than the painter Fred (Fritz) Klein (1898–1990), father of the famous and important Yves Klein.

Huh? What? How can that be? Well, that is of course very well possible. They were more or less contemporaries (Klein was born in 1898, Gockinga in 1893), were both born in the Dutch East Indies and were back in The Netherlands in 1913. They shared a great interest in art. In 1920, Klein moved to France, where he would make his sunny canvases that he became known for. Before that, he was apparently also in The Hague, where he visited his friend Gockinga. That friend has now made a special and somewhat decadent portrait of Klein: a kind of mythological half-man, surrounded by masks and, as I said, in a nice Beardsley-style. You could interpret the masks and the mix of male/female characteristics in a certain way but I leave that to the viewer. In any case, a special drawing can be added to the mysterious oeuvre of the Dutch Symbolist. Big thanks to the Klein relatives that allowed me to write about and portray it, of course.

Sander Bink

Previously on { feuilleton }
• Antony Little’s echoes of Aubrey
• Aubrey in LIFE
• Beardsley reviewed
• Aubrey Beardsley in The Studio
• Ads for The Yellow Book
• Beardsley and His Work
• Further echoes of Aubrey
• A Wilde Night
• Echoes of Aubrey
• After Beardsley by Chris James
• Illustrating Poe #1: Aubrey Beardsley
• Beardsley’s Rape of the Lock
• The Savoy magazine
• Beardsley at the V&A
• Merely fanciful or grotesque
• Aubrey Beardsley’s musical afterlife
• Aubrey by John Selwyn Gilbert
• “Weirdsley Daubery”: Beardsley and Punch
• Alla Nazimova’s Salomé

Wildeana 12

The Wilde Years (2000), a poster by Jonathan Barnbrook for an exhibition at the Barbican Centre, London.

Continuing an occasional series. Recent (and not-so-recent) Wildean links.

• Sander Bink writes that Beardsley-esque artist Carel de Nerée tot Babberich was in Paris in the summer of 1900, the summer of the Exposition Universelle which has been a subject of many posts here. Did he meet Oscar Wilde? It’s a possibility.

• “Was Oscar Wilde’s outlandish personality more influential than his writing?” asks George Woodcock.

These were the years when Zola was at the height of his international fame but Wilde pans the fashionable Naturalist school by contrasting it with another phenomenon that was then sweeping through Europe: Russian fiction. One of the small gems of these volumes is a cluster of very interesting and little-known articles on modern Russian novels. Wilde rated Turgenev, Tolstoy and Dostoevsky far above “the obscene brood of pseudo-realists which roosts in the Cloaca maxima of France” and welcomed their influence on modern literature. He was certainly among the first critics to review the English translations of Crime and Punishment and Injury and Insult, praising Dostoevsky’s command of detail and ability to probe into “the most hidden springs of life”.

Stefano Evangelista on Wilde’s world of journalism

• “An idea that is not dangerous is not worthy of being called an idea at all.” A print by ObviousState.

• Robert McCrum looks at The Picture of Dorian Gray for the Guardian‘s 100 Best Novels.

• Oscar Wilde provides the Pinterest legions with a thousand and one quotes.

Elsewhere on { feuilleton }
• The Oscar Wilde archive