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time in
Rotterdam than the Hague. At that time van Gogh gave Theo a less than flattering account of Breitner's paintings as resembling mouldy wallpaper, although he did say he thought he would be all right in the end. For his part, there is no evidence that Breitner saw anything notable in van Gogh's work. He later reminisced that sketching with van Gogh was problematic because, whereas Breitner sketched discreetly in a notebook, van Gogh came laden with apparatus and attracted hostile attention.
362:, or canals in the rain. With his nervous brush strokes, he captured the dynamic street life. By 1890, cameras were affordable, and Breitner had a much better instrument to satisfy his ambitions. He became very interested in capturing movement and illumination in the city, and became a master in doing this. It is not impossible that Breitner's preference for cloudy weather conditions and a greyish and brownish palette resulted from certain limitations of the photographic material.
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274:, with whom he often went sketching in the poorer areas of The Hague. Breitner preferred working-class models: labourers, servant girls and people from the lower class districts. Interest in the lot of the common people, which many artists felt in that period, was nurtured by the social conscience of French writers such as
504:, and the pair sketched together in the working-class districts of The Hague. Breitner was motivated to do so because he regarded himself as a painter of the common folk. Van Gogh, initially at any rate, was more intent on recruiting models. It is likely that Breitner introduced van Gogh to the novels of
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By the turn of the century
Breitner was a famous painter in the Netherlands, as demonstrated by a highly successful retrospective exhibition at Arti et Amicitiae in Amsterdam (1901). Breitner travelled frequently in the last decades of his life, visiting Paris, London, and Berlin, among other cities,
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Two years after van Gogh's death, Breitner wrote that he did not like van Gogh's paintings: "I can’t help it, but to me it seems like art for
Eskimos, I cannot enjoy it. I honestly find it coarse and distasteful, without any distinction, and what’s more, he has stolen it all from Millet and others."
511:
Breitner was hospitalised in April. Van Gogh visited him in hospital, but
Breitner did not return the visits when van Gogh himself was hospitalised two months later, and they did not meet again until the following July when van Gogh was on the verge of leaving The Hague and Breitner spending more
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sometimes formed the immediate example for a particular painting, for instance the girls in kimono. On other occasions, Breitner used photography for general reference, to capture an atmosphere, a light effect or the weather in the city at a particular moment. In 2021, a photograph by
Breitner (
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The discovery in 1996 of a large collection of photographic prints and negatives made clear that
Breitner was also a talented photographer of street life in the city. Sometimes he made various pictures of the same subject, from different perspectives or in different weather conditions. Photos
397:. As time went by critics lost interest in Breitner. The younger generation regarded impressionism as too superficial. They aspired to a more elevated and spiritual form of art, but Breitner did not allow himself to be influenced by these new artistic trends. Around 1905–1910
369:
he was criticized because his nudes were painted too realistically and did not resemble the common ideal of beauty. In his own time
Breitner's paintings were admired by artists and art lovers, but often despised by the Dutch art critics for their raw and realistic nature.
565:'s in France. In his early years, the corn merchant A.P. van Stolk, who was interested in art, played an influential role. He financially supported the young painter from 1877 to 1883, but his conservative taste clashed with Breitner's particular style.
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realized €760,250 at an
October 2007 Christie's Amsterdam sale. The scene is a noted beauty spot in Amsterdam and the palette rather brighter than Breitner's norm, although still muted by comparison with his French counterparts.
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Breitner saw himself as "le peintre du peuple", the people's painter. He was the painter of city views par excellence: wooden foundation piles by the harbour, demolition work and construction sites in the old centre,
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Although
Breitner exhibited abroad early on, his fame never crossed the borders of the Netherlands. At the time foreign interest was more for anecdotal and picturesque works; the typical "Dutchness" of the
618:, the subject of a series of seven paintings and studies by Breitner of a girl dressed in a red or white kimono lying on a bed or standing before a mirror. The painting is considered a high point of Dutch
239:
academy Ars Aemula
Naturae. In 1880 he was expelled from the Art Academy of The Hague for misconduct, because he had destroyed the regulations-board. In the same year he lived at landscapist
215:, and became interested in photography as a means of documenting street life and atmospheric effects – rainy weather in particular – as reference materials for his paintings.
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Breitner is remembered in a Dutch figure of speech: when the streets are grey and rainy, people of Amsterdam whisper grimly "Echt Breitnerweer" (Typical Breitnerweather).
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and continued to take photographs. In 1909 he went to the United States as a member of the jury for the Carnegie International Exhibition in Pittsburgh.
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where his extraordinary talent was rewarded on various occasions. From October 1878 till April 1879 he worked as an art teacher at the
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film museum and Tolhuistuin. The academy was renamed the Breitner Academie, named after the Amsterdam artist George Hendrik Breitner.
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was flourishing. Between 1911 and 1914 all the latest art movements arrived in the Netherlands one after another including
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653:(2016–present). From 2016, the Amsterdam Academy of Fine Arts is housed at Overhoeksplein 1-2, next to the
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of Amsterdam, but soon it became clear that Breitner was far beyond the level of education offered there.
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211:, he is noted especially for his paintings of street scenes and harbours in a realistic style. He painted
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From a distance they're areas of faded colour as on bleached and rotting and mouldering wallpaper ...
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856:), 25 December 1892, cited by P.H. Hefting, ‘Brieven van G.H. Breitner aan H.J. van der Weele’, in
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207:(12 September 1857 – 5 June 1923) was a Dutch painter and photographer. An important figure in
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many free pictures of Breitner's paintings: on the website of the Rijksmuseum, Amsterdam
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biographical notes of George Hendrik Breitner, in Dutch RKD-Archive, The Hague
799:"Letter 361: To Theo van Gogh, The Hague, on or about Wednesday, 11 July 1883"
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287:(English translation: "Eighty-ers"). This was a group that championed
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743:"Letter 204: To Theo van Gogh. The Hague, Monday, 13 February 1882"
425:. Breitner's role as contemporary historical painter was finished.
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500:. Van Gogh appears to have been introduced to him by his brother
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to the Netherlands that created shock waves similar to that of
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In the early months of 1882, Breitner came into contact with
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He was associated with the Dutch literary group known as the
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Meisje in rode kimono (Geesje Kwak): girl in a red kimono
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19de eeuwse Nederlandse schilderkunst. Een zestal studies
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An Elegant Lady Strolling Along a Canal in Amsterdam)
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51:. Unsourced material may be challenged and removed.
610:Amsterdam sale in October 2003. The purchaser was
365:Breitner also painted female nudes, but just like
227:, Netherlands. From 1876 to 1880 he attended the
985:"Gezicht op Keizersgracht hoek Reguliersgracht'"
956:"Sale 2659 / Lot 184 George Hendrik Breitner –
894:"Sale 2602 / Lot 178 George Hendrik Breitner –
767:Naifeh, Steven; White Smith, Gregory (2011).
675:"Dossier George Hendrik Breitner (1857–1923)"
635:Gezicht op Keizersgracht hoek Reguliersgracht
8:
631:realized €415,200 at Christie's, Amsterdam.
1006:Dossier George Hendrik Breitner (1857–1923)
958:Rokin with the Nieuwezijdskapel, Amsterdam
629:Rokin with the Nieuwezijdskapel, Amsterdam
597:Rokin with the Nieuwezijdskapel, Amsterdam
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852:Letter to Johanna van der Weele (wife of
262:During 1880–1881 he worked at the famous
255:and today he is generally regarded as an
111:Learn how and when to remove this message
534:(c. 1890–1900), photograph, 30 x 35 cm,
666:
1074:Royal Academy of Art, The Hague alumni
876:Gallery of Honour of Dutch Photography
830:. VanGoghBiography.com. Archived from
579:Gallery of Honour of Dutch Photography
299:, influencing other painters such as
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862:(Nederlands Kunsthistorisch Jaarboek
223:George Hendrik Breitner was born in
49:adding citations to reliable sources
922:Abrahams, Frits (29 October 2003).
345:(c.1895), watercolor, 40 x 51 cm,
14:
614:. The model for the painting was
508:and the cause of social realism.
1089:19th-century Dutch photographers
1084:20th-century Dutch photographers
721:"Sketch of people on the street"
581:, consisting of 99 photographs.
247:and was accepted as a member of
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1012:A snapshot of Breitner’s career
36:needs additional citations for
698:"Stadsgezicht in Den Haag (?)"
571:Hangboogstraat 23 in Amsterdam
547:Handboogstraat 23 in Amsterdam
471:Sketch of people on the street
428:Breitner had only two pupils,
16:Dutch painter and photographer
1:
803:Vincent van Gogh: The Letters
747:Vincent van Gogh: The Letters
1064:Dutch Impressionist painters
679:Koninklijke Bibliotheek (KB)
456:Street View in The Hague (?)
878:(2nd ed.). Rotterdam:
380:, oil on canvas (c. 1888),
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932:(in Dutch). Archived from
719:Breitner, George Hendrik.
696:Breitner, George Hendrik.
439:He died on 5 June 1923 in
139:Breitner photographed by
132:
60:"George Hendrik Breitner"
1017:10 November 2013 at the
880:Netherlands Photo Museum
599:(c. 1904), oil on canvas
577:'s permanent exhibition
575:Netherlands Photo Museum
549:, Rijksmuseum, Amsterdam
462:, Amsterdam (SK-A-3547).
331:In 1886, he entered the
1079:Painters from Rotterdam
1054:Painters from Amsterdam
606:realized €582,450 at a
530:Oudezijds Achterburgwal
257:Amsterdam Impressionist
209:Amsterdam Impressionism
205:George Hendrik Breitner
152:George Hendrik Breitner
127:George Hendrik Breitner
864:vol. 27 ), pp. 148–149
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553:Breitner introduced a
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434:Marie Henrie Mackenzie
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320:Girl in a White Kimono
1069:Dutch modern painters
874:Pearse, Mike (2022).
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469:
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447:Breitner and van Gogh
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731:on 22 February 2013.
708:on 22 February 2013.
604:Girl in a Red Kimono
488:(1882), watercolor,
486:Distribution of Soup
45:improve this article
936:on 10 November 2013
685:on 6 February 2012.
828:Van Gogh: The Life
777:. pp. 262–3.
770:Van Gogh: The Life
655:EYE Film Institute
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343:The Dam, Amsterdam
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1059:Cityscape artists
651:Breitner Academie
307:, and poets like
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727:. Archived from
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681:. Archived from
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498:Vincent van Gogh
490:Stedelijk Museum
432:(1876–1967) and
401:as practised by
382:Stedelijk Museum
272:Vincent van Gogh
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378:Reclining woman
264:Panorama Mesdag
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555:social realism
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268:Hendrik Mesdag
266:together with
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436:(1878–1961).
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423:expressionism
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305:Willem Witsen
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301:Isaac Israëls
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101:November 2014
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309:Willem Kloos
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253:Hague School
243:'s place at
241:Willem Maris
222:
213:en plein air
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179:(1923-06-05)
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43:Please help
38:verification
35:
18:
1049:1923 deaths
1044:1857 births
1008:(in Dutch).
725:Rijksmuseum
702:Rijksmuseum
616:Geesje Kwak
538:, Amsterdam
536:Rijksmuseum
532:, Amsterdam
475:Rijksmuseum
460:Rijksmuseum
399:pointillism
384:, Amsterdam
356:horse trams
349:, Amsterdam
347:Rijksmuseum
327:, Amsterdam
325:Rijksmuseum
297:romanticism
229:Art Academy
177:5 June 1923
1038:Categories
989:Christie's
964:Christie's
902:Christie's
824:"Note 278"
661:References
646:Influences
608:Christie's
588:Art market
506:Émile Zola
411:Leo Gestel
293:naturalism
284:Tachtigers
276:Émile Zola
245:Loosduinen
197:Tachtigers
158:1857-09-12
71:newspapers
621:Japonisme
441:Amsterdam
430:Kees Maks
367:Rembrandt
233:The Hague
225:Rotterdam
219:Biography
185:Amsterdam
166:Rotterdam
1015:Archived
924:"Geesje"
838:15 March
809:. 2v:6.
419:futurism
323:(1894),
295:against
193:Movement
559:Courbet
360:the Dam
85:scholar
969:11 May
940:11 May
907:11 May
854:Herman
781:
520:Legacy
415:cubism
237:Leiden
87:
80:
73:
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563:Manet
92:JSTOR
78:books
971:2012
942:2012
909:2012
840:2012
779:ISBN
561:and
502:Theo
421:and
409:and
291:and
174:Died
148:Born
64:news
358:on
231:in
47:by
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