"Halte der Artillerie or Rustende Cavalerie" by George Hendrik Breitner
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George Hendrik Breitner

"Halte der Artillerie or Rustende Cavalerie" 1885

CanvasPaintOil paint
60 ⨯ 100 cm
Price on request

Studio 2000 Art Gallery

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About the artwork

60 x 100 cm.
Signed lower left
According to the annotation on the back of a photo this subject is situated at the Beeklaan in Loosduinen, the Hague.

Provenance: Collectie A.L. Koster, ’s-Heerenberg, 1901; vlg. A Mak, Amsterdam, 15 april 1924, lot nr. 23 (als: Rustende cavalerie);
Collectie Camphuis; vlg. A. Mak, Amsterdam, 4 november 1924, lot nr. 30;
A. Mak, Amsterdam, 13 februari 1934;
Kunsthandel Sala, Den Haag, 1940;
Collectie W. Hoos, Den Haag; Kunsthandel Kupperman, Amsterdam, ca. 2000,
Christie’s, 17 november 2010; private collection the Netherlands.

Literature: Anoniem, ‘Geillustreerde kunstagenda’, in: Elsevier’s Geïllustreerd Maandschrift, vol. 50, deel 99, januari-juli 1940, p. 80, ill.; A.M. Hammacher, Amsterdamsche Impressionisten en hun Kring, Amsterdam 1941, ill. nr. 32 b; P.H. Hefting, G.H. Breitner in zijn Haagse tijd, Utrecht 1970, cat.nr. 89, ill. (als: Halte der Artillerie (Rustende Cavallerie); Adriaan Venema, G.H. Breitner, 1857-1923, Bussum 1981, cat.nr. 93, p. 97, ill. (als: Halte der artillerie). Het schilderij wordt genoemd in een brief van G.H. Breitner aan zijn mecenas A.P. van Stolk, 9 maart 1885 (zie P.H. Hefting, 1970, nr. 89).
 
 
Exhibited: Amsterdam (Arti et Amicitiae), G.H. Breitner, november – december 1901, cat.nr. 92 (als: Halte der cavalerie); Amsterdam, Tentoonstelling Haagse Kunstkring, 1924, cat.nr. 66; Gemeentemuseum (Den Haag), Jubileumtentoonstelling Haagsche Kunstkring, 3 mei – 1 juni 1941, cat.nr. 14; Gemeentemuseum (Den Haag) Bruikleen van de erven van W. Hoos van 1957 – na 1970. 

About the Artist - 6 more artworks

George Hendrik Breitner (1857-1923) was born in Rotterdam. In 1876, he enrolled at the academy in The Hague. Later, he worked at Willem Maris's studio. In this early period he was especially influenced by the painters of the Hague School. Breitner preferred working-class models: labourers, servant girls and people from lower-class neighbourhoods. He saw himself as 'le peintre du peuple', the people's painter. In 1886, he moved to Amsterdam, where he recorded the life of the city in sketches, paintings and photos. Sometimes he made several pictures of the same subject, from different angles or in different weather conditions. Photos might serve as an example for a painting, as for his portraits of girls in kimonos, or as general reference material. Breitner often collaborated with Isaac Israels; both painters are referred to as Amsterdam Impressionists. Conservative critics called Breitner's style 'unfinished'.