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288:. Closely adhering to their master's principles expressed in his writings and in his paintings, these artists collectively gave rise to the school of landscape painting referred to as 'Cleves Romanticism', blending realism with a pervading idealized atmosphere. He advised his students to study nature closely, to observe the qualities of light at dawn and at sunset and the development of storms. He also guided his students in the examination of Dutch seventeenth century masters. The 1840s-50s saw Koekkoek at the very height of his genius. In November 1859 Koekkoek suffered from a major stroke which effectively ended his career as a painter. He died April 5, 1862, in his beloved town of Cleves.
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265:, Germany, where he found his ideal subject matter in the region of the Ahr, Ruhr and Rhine. Soon large oak trees, winding paths and panoramic views filled his paintings with an artful blend of minute detail and atmospheric mood. In Cleves, where he would spend the rest of his life, Koekkoek painted his most important landscapes, ranging from extensive river valleys to idyllic forest views dominated by one or more oaks. He often dramatized his trees as a means to emphasize man's paltriness in comparison to nature.
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272:("Recollections and Communications of a Landscape Painter"), in which he aired the view that an artist must, above all, stay true to nature through meticulous observation and rigorous draughtsmanship. This seminal work took the form of a leisurely journey along the Rhine, pointing out to the reader various qualities of nature and landscape. The same year, by popular demand from young artists eager to receive his tuition, Koekkoek founded his own drawing academy (
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Barend grew up in an artistic environment and came to be known during his lifetime as the âPrince of
Landscape Paintingâ and was an applauded landscapist of his time and regarded as the founding father of Dutch romantic landscape painting. The recipient of endless awards and decorations, he counted
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The flat Dutch countryside could not satisfy
Koekkoek's romantic soul for very long. âSurelyâ, Koekkoek wrote in 1841 âOur fatherland boasts no rocks, waterfalls, high mountains or romantic valleys. Proud, sublime nature is not to be found in our landâ. With that in mind, in the summer of 1834 he
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His brothers were both successful artists, the first as a painter of marine subjects and river scenes, the second as a landscapist. In 1817 he enrolled at the
Drawing Academy of Middelburg, where he studied under Abraham Krayestein. On moving to Amsterdam in 1822, he studied for four years at the
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Koekkoek imagined his pictures as the result of an ideal combination of observation and artifice. He studied art and nature with equal acuity, creating beautiful landscape paintings that celebrated the greatness of
Creation. âKoekkoek's work impresses the spectator by its power, by the firm and
165:â—âborn in the province of Zeeland, to Dutch parentsâ—âand Anna van Koolwijk. Aside from Koekkoek, whose father was a Dutch renowned marine painter, from whom he received his earliest tuition, Johannes and Anna's other sons were
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seems to linger on. Just as he was during his own lifetime, Koekkoek is widely regarded as the most accomplished landscape painter of Dutch romanticism, against whose scrupulously refined paintings the work his contemporaries is measured.
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221:(1826â1827), housing a colony of landscape and cattle painters, strengthened his decision. The landscapes he painted in the rural surroundings of Hilversum were received favourably. In 1829, the Amsterdam society
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Koekkoek's own paintings reveal a careful study and synthesis of Dutch seventeenth-century painters. His art is firmly rooted in the great Dutch romantic tradition established by the seventeenth-century masters:
351:, Dutch Painters of the Nineteenth Century, Woodbridge, 1973, p. 89). Up to this day, Koekkoek's work is very much favoured for the lively composition and the mood of nostalgia, in which the
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correct construction of the trees, by the broad, natural growth of the leaves and boughs, by the careful and elaborate reproduction of the wooded landscapeâ (
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This was a popular subject matter in the Golden Age, the main source of inspiration for nineteenth-century artists. A two years stay in the rural setting of
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He concentrated on extensive wooded landscapes in summer and winter, a theme deducted from the four season series. Like other
Romantic painters such as
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over the next seven years. After his death in 1862, the house was sold and the majority of its furnishings were auctioned off in
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By 1841, Koekkoek had earned such regard from his fellow artists that he decided to publish a book of lessons for students,
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Koekkoek's financial success allowed him to purchase a plot of land in downtown Cleves in 1842 and build a grand villa in
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among his clients King
Friedrich-Wilhelm IV of Prussia, Tsar Alexander II, and King Willem II of the Netherlands.
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582:. DuMont TaschenbĂźcher (in German). Vol. 108 (revised edition, 1984 ed.). KĂśln: DuMont Buchverlag.
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awarded one of
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short film with many images of
Koekkoek's landscape-paintings
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Barend
Cornelis Koekkoek was born on 11 October 1803, in
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official website of the Museum B.C. Koekkoek-Haus, Kleve
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300:"Forest scene" (1848); Rijksmuseum, Amsterdam
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624:biography notes and dates of B.C. Koekkoek
619:Works by Koekkoek in the Dordrechts Museum
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278:Frederik Marinus Kruseman
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418:Haus Koekkoek, staircase
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634:Categories
570:References
155:Middelburg
55:Middelburg
47:1803-10-11
370:Amsterdam
219:Hilversum
144:Biography
82:Education
76:, Germany
558:Adriani
341:Jan Both
325:Ruisdael
171:Johannes
167:Hermanus
329:Wynants
317:Hobbema
182:Marinus
159:Zeeland
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263:Cleves
248:Career
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235:Adèle
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