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485:. The assignment to decorate the Great Hall of the chamber of commerce, which was really a city auditorium, was given in mid 1900. By November 1900 the roof of the building was closed and work on the interior started. By November 1901 it became known that Berlage refused to accept Derkinderen's work. According to him, Derkinderen had deviated from the overall plan, especially by incorporating symbolism in his wall paintings.
213:. Derkinderen had many relations. His ideal was that students would learn to paint in a craftsman model based on the medieval guilds. This would unit arts and crafts. In 1903 he founded the workshop 'De Zonnebloem' in Laren. In this workshop some large leadlights were produced, amongst them the leadlight for the stock exchange. However, a lack of further orders forced Derkinderen to sell the workshop again in 1906.
597:, he came to the realization that by following 'l'art-pour-l'art' ideas, art had become isolated from society, and artisanship had been ignored. Derkinderen strove for a new integration of art and society, where art serviced society and emanated from society. As such, community art was not about individual impressions and emotions, but about art that expressed grand and broad ideas.
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428:, which was built 1895-1900. Derkinderen completed the murals in the stairway of the building in 1900. This time, the presence of central heating induced Derkinderen to paint directly on the wall. The work had a commercial meaning, advertising the usefulness of insurance. This probably caused that it did not make a deep impression.
280:. The assignment was given by B.H. Klönne. Derkinderen first set out to produce the painting that Klönne intended. He portraited about 80 Catholic citizens that would recognizable appear in the painting. In 1887 Derkinderen then went to study in Italy, but it was on the way back in France that his ideas changed. In the Paris
500:, or was bound to work according to the project description. Members of the committee were Jan Veth, and A. Pit, who would appoint a third member. In January 1902 the conflict was ended by this committee, with both parties moving a bit. When the exchange opened in May 1903, the great leadlight of the hall was complete.
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curtains. The paneling prevented the execution of
Derkinderens's design, and in a practical sense this also applied to the curtains. By 1909 the hall had a lowered ceiling, and litigation between the municipality and Derkinderen seemed imminent. Derkinderen and the municipality worked out a solution,
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Derkinderen's murals were delayed by serious concerns about the acoustics of the hall. By late 1904 these paintings were not yet completed. In
December 1905 Derkinderen's designs for the wall paintings were published. A commission was then appointed to investigate whether it would possible to change
556:
Above the entrance on the
Vijzelstraat is a stairway with a series of 20 memorial leadlights offered by the Asian staff of the company. These were designed by Derkinderen and finished by Joep Nicolas. They leadlights depict: the situation before the foundation of the NHM with unemployment, poverty,
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in 's-Hertogenbosch. The simple reason why
Derkinderen went to this school, was that the education was solid and free of charge. He also became qualified to teach drawing and mathematics. Derkinderen would lead the choir of this school with very much enthusiasm. In May 1878 Derkinderen qualified as
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affixed to the wall. Even then, the result would not be certain. One could only be sure in advance by fixing canvas to the walls at a cost of 3,000 guilders, which would be lost if the result was insufficient. The city government declined this experiment, and advised another option to the council.
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art. He was convinced that it was a form of community art even more than monumental painting was. Derkinderens's first big leadlight assignment was the window for
Utrecht University in 1893/1894. At first the architects E. Engel and C. Muysken wanted to refuse the work, because it did not fit with
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from 1878 to 1880. This school was led by J.Th. Stracké. Derkinderen would receive extensive teaching by Stracké, and would later note how much he appreciated his teacher. Three days a week
Derkinderen got lessons in architectural drawing by Lambert Hezenmans, architect of the restoration of the
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When it was finished, the painting was exhibited in Art hall
Panorama in Amsterdam. In June 1889 it was exhibited in Pulchri on the Prinsegracht in the Hague. The painting was widely discussed in the Dutch media, and Derkinderen became famous. There was a lot of criticism, but most experts were
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288:. Derkinderen then changed the painting from following a traditional Catholic idea, to a painting that incorporated modern ideas. The first change was that he began to use shadowy halftints, the second that it became much more abstract, the prominent citizens were no longer recognizable.
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The first floor of the stairway had 'Luxury' and 'Need' across from 'Life
Insurance'. Between the first and second floors was 'Time'. On the second floor were 'Health' and 'Illness' across from 'The Wheel of Fortune'. Between the second and third floor was the 'Stair of life'.
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Principal Klönne was less than enthusiastic. He refused the work for which he had already paid the full price of 4,000 guilders, and ordered a replacement by C.F. Philippeau. The
Sacrament of Miracle was bought by a private person, and in 1895 it was received in loan by the
549:(NHM) from 1919 to 1926. The NHM was a very powerful company and bank, and this was expressed in its offices, which became over 100 m long, and had 10 floors. Construction took place between 1919 and 1926. Before the building was finished, the architect
312:. In one of these transactions Klönne, received 2,000 for the painting, in return for which he gave up his claims against Derkinderen. In 1929 Derkinderen was fully vindicated when his work replaced Philippeau's work, which was moved to a higher floor.
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in 's-Hertogenbosch city hall. These had met with wide approval. For the 700th anniversary of 's-Hertogenbosch
Derkinderen designed a procession, which probably re-used his research. In August 1889 the municipality accepted Derkinderen's design.
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After producing the Vondel edition, Derkinderen would cooperate with the architect Berlage for a while. Derkinderen got an assignment for murals in the building that Berlage designed for the General Society for Life Insurance and Annuities
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the acoustics of the hall so it would become suitable for public events other than formal meetings. The commission concluded that this could perhaps be done by applying fabric to the wall, i.e. by executing Derkinderen's design on
362:). It founded Derkinderen's reputation as a monumental painter and community artist. In 1893 Derkinderen painted the Second Bosch wall. This was received with far less enthusiasm, primarily because it was much more stylized.
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In 1891 Derkinderen realized his design, which became known as the first Bosch wall. It was a work on canvas which was affixed to the wall, and made Derkinderen an established artist. One year later Art critic Jan Veth wrote
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In 1895 the first issue of the 'Gedenkboek der Keuze-tentoonstelling van 1892' appeared. Derkinderen made the cover, the frontispiece and other decorations. Next Derkinderen illustrated the Missa by
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Antoon Derkinderen was born in 's-Hertogenbosch in 1859 to Antonius Henricus Derkinderen, gold- and silversmith, and Hendrica de Rooij. At the time the town was deeply Catholic and conservative.
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Meanwhile the foundations of the exchange proved less than solid, and cracks in the walls appeared in multiple places. By August 1907 the municipality planned to place 3.5 m high
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181:. Derkinderen appreciated Hezenmans' work a lot less, but the constant exposure to the work at the cathedral and its art can hardly have failed to influence Derkinderen.
241:(1865-1944) but the marriage remained childless. In 1927 his wife would publish his childhood memories titled: 'The youth of Antoon Derkinderen told by himself in 1892'
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Seven design drawings for the work were exhibited during construction, and 'The Wheel of Fortune' and 'Time' were sold while on exhibition in Utrecht. In 1902
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573:; Next is the use of wealth, depicted in need, action, luxury, and fight; The last eight windows further elaborate on this by depicting the legend of the
405:. Diepenbrock was one of the closest friends of Derkinderen. In 1898 Diepenbrock's Sequentia Stabat Mater Dolorosa was illustrated by Derkinderen.
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and the Medieval Cathedrals, and strove for a fusion of art disciplines under the leadership of architecture. Under the influence of the ideas of
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304:. He appreciated Derkinderen's intention to create a painting that was part of the building, instead of an independent work of art.
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398:. The multidisciplinary cooperation between artists makes the book a prime example of late nineteenth century community art.
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Derkinderen's got his first assignment in 1884. It was for a painting of the medieval Amsterdam procession on account of the
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The issue was solved by appointing a committee of arbitration, which would decide whether Derkinderen could refer to
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In vreemde grond geworteld: Prerafaëlitisme in de Nederlandse literatuur en beeldende kunst (1855-1910) (thesis)
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Aquarel of the procession on account of 700th anniversary of the foundation of âs-Hertogenbosch (1885)
789:'Gysbrecht van Aemstel' van Joost van den Vondel, Een prachteditie van Vondels 'Gysbrecht van Aemstel'
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225:. He remained principal till 1925. In 1914 Derkinderen became a doctor honoris causa at the
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577:. Derkinderen also designed other leadlights in the great hall, also finished by Nicolas.
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died on 28 November 1923. Derkinderen then advised on the completion of the building.
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till 1883. In 1882 Derkinderen interrupted his study to go to Brussels together with
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From 1874 to 1878 Derkinderen went to the daytime school for primary school teachers
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Derkinderen's next big assignment was for the Amsterdam Exchange, now known as the
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In the 1890s Leo Simons took the initiative to produce a very luxurious edition of
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Gijsbrecht van Amstel, De ondergang van syn stad en syn ballingschap, Treurspel
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In 1907 Derkinderen moved to Amsterdam again, where he became principal of the
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1207:"Kunst- en Letternieuws De nieuwe muuschilderingen van Antoon Derkinderen"
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the renaissance character of the building. It was nevertheless accepted.
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192:. He remained there for a year to study at the drawing academy led by
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De jeugd van Antoon der Kinderen door hemzelf beschreven anno 1892
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De jeugd van Antoon der Kinderen door hemzelf beschreven anno 1892
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degeneration and welfare; The sources of wealth personified by
386:. Derkinderen illustrated the book, stage designs were made by
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In 1880 Derkinderen went to Amsterdam, where he studied at the
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In his hometown 's-Hertogenbosch, Derkinderen then went to the
1492:"The Building of the 'Argo', Antoon Derkinderen, 1901 - 1911"
126:, 20 December 1859 â Amsterdam, 2 November 1925) was a Dutch
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822:"Derkinderen's Processie van het H. Sacrament van Mirakel."
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Provinciale Noordbrabantsche en 's Hertogenbossche courant
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but it was Derkinderen's last big assignment for a mural.
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Berlage's General Society for Life Insurance and Annuities
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Algemeene Maatschappij van Levensverzekering en Lijfrente
196:. In 1886 and 1887 he lived on the Parkweg in Amsterdam.
1343:[The new Amsterdam Exchange (with floor plan)].
1379:[Design by A.J. Derkindren (with 4 pictures)].
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Already by 1884 Derkinderen had exhibited sketches for
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Derkinderen was inspired by e.g. the 'Gesamtkunst' of
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Derkinderens Wandschildering in het Bossche Stadhuis.
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positive. The painting got an enthusiastic review by
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In 1894 Derkinderen married the artist and historian
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Derkinderen's last big leadlight assignment was for
449:. In late 1904 the Utrecht Museum for Applied Arts (
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Derkinderens wandschildering in het Bossche stadhuis
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799:"Het ontstaan van Derkinderen's Mirakel-Processie"
812:Het fin-de-siĂšcle in de Nederlandse schilderkunst
1452:"Het nieuwe gebouw der Nederlandsche Handel Mij"
1395:"De Muurschilderingen in de Amsterdamsche Beurs"
1341:"De Nieuwe Beurs te Amsterdam (met plattegrond)"
217:Principal of the national academy of visual arts
203:. From 1888 till 1890 he was again in Brussels.
199:Derkinderen was one of the first members of the
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956:De TÄłd : godsdienstig-staatkundig dagblad
247:. The work contains a portrait by his student
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1377:"Ontwerp van A.J. Derkinderen (met 4 platen)"
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1345:Het nieuws van den dag : kleine courant
1081:"Het 700-jarig bestaan van 's Hertogenbosch"
946:
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750:"Derkinderen, Antonius Johannes (1859-1925)"
509:The council insisted on the wall paintings.
169:an assistant teacher for primary education.
16:Dutch painter and autobiographer (1859-1925)
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770:, University of Groningen, pp. 203â223
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260:First assignment, the Sacrament of Miracle
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1007:Dagblad van Zuidholland en 's Gravenhage
696:Study of semi-nude man with turban, 1885
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174:Royal School of Applied and Visual Arts
545:. This was built as the office of the
268:Sacrament of Miracle on the right wall
120:Antonius Johannes (Antoon) Derkinderen
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828:, W. Versluys, Amsterdam, p. 461
754:Biografisch Woordenboek van Nederland
452:Utrechtsch Museum van Kunstnijverheid
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276:. It would have to be placed in the
365:Derkinderen was very interested in
324:Mural in city hall 's-Hertogenbosch
223:Rijksakademie van beeldende kunsten
186:Rijksakademie van beeldende kunsten
461:). The building was later used by
165:Rijkskweekschool voor Onderwijzers
14:
1099:"'s-Hertogenbossche, 31 Augustus"
847:Het verhaal van een honderdjarige
844:Voets, B.; Van Noord, H. (1981),
861:, De Erven F. Bohn, Haarlem 1893
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492:Hall with panelling and curtains
206:Derkinderen then settled in the
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316:Establishes himself with murals
1051:"De Processie van Derkinderen"
855:Van den Vondel, Joost (1893),
1:
781:, C.A.J. van Dishoeck, Bussum
516:in the hall. Above that came
447:Museum Boijmans Van Beuningen
138:and designer of book covers.
47:Antonius Johannes Derkinderen
1129:"Prof. Dr. A.J. Derkinderen"
815:, Martinus Nijhoff, Den Haag
775:Derkinderen, Antoon (1927),
340:Leadlight Utrecht University
1525:20th-century Dutch painters
1520:19th-century Dutch painters
896:Nederlandsche staatscourant
748:Broekhuis, Madelon (2013),
547:Netherlands Trading Society
465:, and burned down in 1963.
295:Sacrament of Miracle (1884)
278:Begijnhof Chapel, Amsterdam
227:Rijksuniversiteit Groningen
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1305:"Ruzie tussen kunstenaars"
1003:"Kunstzaal Pulchri Studio"
972:Voets & Van Noord 1981
839:, S.L. van Looy, Amsterdam
786:Van Egmond, Marco (2020),
520:curtains, and above these
469:Work on Berlage's Exchange
310:Stedelijk Museum Amsterdam
1255:"Rotterdamsch nieuwsblad"
797:Molkenboer, B.H. (1929),
756:, Huygens ING - Amsterdam
349:, and launched the term:
286:Pierre Puvis de Chavannes
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1237:"Kunst- en Letternieuws"
1189:"Kunst en Wetenschappen"
1159:"Kunst en Wetenschappen"
1033:"Kunst en Wetenschappen"
952:"Amsterdam, 16 Augustus"
477:Amsterdam Stock Exchange
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390:. Music was composed by
239:Johanna Henriette Besier
1433:[Litigation?].
809:Polak, Bettina (1955),
761:Van Buul, A.C. (2013),
634:Mother with boy (study)
455:) bought 'The Lesson' (
201:Artist Society St. Luke
663:Gijsbrecht van Aemstel
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1413:"Uit andere plaatsen"
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37:Derkinderen (c. 1914)
1473:"Antoon Derkinderen"
1381:Algemeen Handelsblad
1327:Algemeen Handelsblad
1291:Algemeen Handelsblad
1163:Algemeen Handelsblad
1055:Algemeen Handelsblad
1037:Algemeen Handelsblad
989:Algemeen Handelsblad
985:"Kunstzaal Panorama"
792:, Utrecht University
380:Joost van den Vondel
274:Miracle of Amsterdam
179:St. John's Cathedral
158:Portrait by Jan Veth
1530:Dutch glass artists
1383:. 16 December 1905.
1275:. 11 November 1904.
1195:. 25 February 1898.
1135:. 19 December 1924.
1105:. 2 September 1889.
1057:. 19 December 1903.
606:Multiple techniques
403:Alphons Diepenbrock
392:Alphons Diepenbrock
284:he saw the work of
1437:. 15 October 1909.
1365:. 31 October 1904.
1329:. 31 October 1901.
1311:. 22 October 1901.
1257:. 21 October 1902.
1165:. 8 February 1895.
833:Veth, Jan (1892),
820:Veth, Jan (1889),
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445:) was acquired by
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374:Book Illustrations
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194:Jan Frans Portaels
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53:, 20 December 1859
25:Antoon Derkinderen
1535:Dutch draughtsmen
1477:Watercolour World
1458:. 4 October 1926.
1287:"De Nieuwe Beurs"
1273:De nieuwe courant
991:. 4 January 1889.
958:. 18 August 1884.
892:"Lager Onderwijs"
722:Stéphane Mallarmé
483:Beurs van Berlage
355:gemeenschapskunst
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1087:. 23 July 1885.
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1068:Molkenboer 1929
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1039:. 10 July 1895.
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736:Nude, 1900-1910
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61:2 November 1925
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1466:External links
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1359:"Gemeenteraad"
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1347:. 28 May 1903.
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1293:. 3 July 1900.
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1243:. 28 May 1900.
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1226:, p. 407.
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936:Broekhuis 2013
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898:. 27 May 1878.
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826:De Nieuwe Gids
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1431:"Een Proces?"
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1496:Rijks Museum
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1363:De Standaard
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677:Stamp (1906)
662:
659:Frontispiece
595:Walter Crane
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581:Significance
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132:Glass artist
119:
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18:
1545:1859 births
1540:1925 deaths
1456:De Maasbode
1435:Het Centrum
1193:De Grondwet
1085:De Grondwet
622:(Amsterdam)
417:Time (1899)
233:Family life
147:Early years
70:Nationality
1514:Categories
1501:1 December
1482:1 December
1224:Polak 1955
1176:Polak 1955
742:References
208:art colony
190:Jan Toorop
1116:Veth 1892
1020:Veth 1889
683:Paintings
529:The Bazel
514:panelling
367:Leadlight
136:Draftsman
100:Signature
90:Glass art
64:Amsterdam
620:De Bazel
543:De Bazel
537:De Bazel
302:Jan Veth
282:Panthéon
82:Painting
1269:"Kunst"
803:De Tijd
601:Gallery
563:Neptune
518:brocade
463:C&A
442:De Nood
358:, (cf.
128:painter
86:Drawing
724:, 1891
665:(1893)
571:Vulcan
522:velour
506:canvas
330:murals
867:Notes
768:(PDF)
255:Works
211:Laren
73:Dutch
1503:2020
1484:2020
593:and
569:and
567:Juno
559:Gaia
437:Need
394:and
142:Life
58:Died
43:Born
661:of
382:'s
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439:(
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