About the artwork
oil on canvas
52 x 65 cm.
Signed lower right
Kunsthandel E.J. van Wisselingh & Co, Amsterdam, inv.no. S2786, as: Meisje op divan. Mr. H.G. Samson, Amsterdam; his Sale; Frederik Muller, Amsterdam, 28 April 1896, lot 2. Mr. K. Groesbeek, Amsterdam. Mr. J.L. Swaters, Julianadorp.
Literature: A. Pit a.o., George Hendrik Breitner, Indrukken en biografische aantekeningen van A. Pit, W. Steenhoff, Dr. J. Veth en Prof. Dr. W. Vogelsang [...], Amsterdam 1904-1908, p. 37, ill., as: Rust.
Exhibited: The Hague, Pulchri Studio, October 1896, cat.no 35. Amsterdam, Arti & Amicitiae, 1901-1902, cat.no. 75. The Hague, Gemeente Museum voor Moderne Kunst, Breitner, 10 November-9 December 1928, cat.no. 88, as: Rust. Amsterdam, Stedelijk Museum Amsterdam, Breitner, 10 June-1 August 1933, cat.no. 81, as: Meisje op de sofa. Amsterdam, Kunsthandel E.J. van Wisselingh & Co, Schilderijen en aquarellen door G.H. Breitner, Aquarellen door J. Bosboom, 25 March-4 May 1946, cat.no. 9, as: Meisje op Divan. Amsterdam, Breitner en Amsterdam, October-November 1947, cat.no. 44, as: Vrouw op divan. The Hague, Gemeente Museum, G.H. Breitner, 23 December 1947-19 January 1948, cat.no. 27, as: Vrouw op divan.
About the Artist
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'.