Tag Archives: meadow

Jacob Maris – Girls Blowing Bubbles

5 Apr

Jacob Maris, Two Girls, Daughters of the Artist, Blowing Bubbles, 1880, watercolour and black chalk

I recently discovered some watercolours by a Dutch painter Jacob Maris which instantly captivated me, and looking at Moris’s more representative paintings just further assured me in the opinion that these simple and delicate watercolours are the most beautiful works that Maris ever painted. Maris (1837-1899) is mainly remembered as a landscape painter, thus continuing the centuries long tradition of gloomy and atmospheric Dutch landscapes and seascapes with dark dramatic clouds looming over seaside villages and solitary windmills, reminiscent of the seventeenth century landscapes by Dutch masters such as Jacob van Ruisdael and Jan van Goyen. Along with his two younger brothers Matthijs and Willem, he belonged to the Hague School of painters which was inspired by the Realist tendencies of French art and the Barbizon School. Maris studied in Hague and Antwerp where he was a roommate with Lawrence Alma-Tadema for a brief time, lived in many different places in Europe and died in Karlovy Vary which is in modern Czechia, and of course he had a taste of Paris as well and lived there from 1866 to 1871, and married Catharina Hendrika Horn in 1867.

But these watercolours here are something completely different; firstly, a different medium. Watercolours make every motif, no matter how mundane, appear poetic, gentle and tinged with a bit of sweet melancholy. Being so watery and changeable, watercolours remind of me tears, of the moon’s unpredictability and quickly changing emotions. These playful and intimate genre scenes painted on small scale canvases are a stark contrast to Maris’s darker and larger scaled landscapes. In the painting “Two Girls Blowing Bubbles” we see Maris’s two daughters, probably Tine and Henriette, enjoying themselves. The older girl is blowing a bubble while the younger one is sitting and gazing in awe at her sister’s triumphant large bubble. Look how the bubble was painted, almost transparent, with just a few touches of pink and blue. A spontaneous moment from Maris’s home life captured in a scale of white and grey tones, perhaps similar to Whistler’s Harmonies and Symphonies. A colourful ceramic bowl in the centre of the painting is a little relief from all the greyness, and yet, even with these sombre colours Maris achieved liveliness and spontaneity, it doesn’t look dull and serious at all. But these were painting made for sale, despite their seemingly more intimate character. They weren’t painted just to portray his cozy family life. The thing that connects these genre scenes with the landscapes that he painted is that despite the difference in motifs, his aim was the same; to capture the atmosphere, the mood, which interest him more than the portrait itself. Perhaps that is why Maris often painted his figures seen from the back or from the profile, because he wasn’t that interested in the individual characteristics of the face. That also gives his shadowy figures of girls in white a mysterious vibe.

Jacob Maris, Two Girls, Daughters of the Artist at the Piano, 1880, watercolour

“Daughters of the Artist at the Piano” also shows an intimate moment from his family life. Again, his two daughters are shown enjoying a proper past time for a respectable young lady; piano playing. Well, we can assume they are playing it because in this watercolour they are just standing next to it. I love the contrast between the left side of the painting which is darker and the right side which is way lighter because the two girls are standing here, with their backs turned back to us they are showing off their soft feathery hair and matching blue ribbons. The older girl is touching a few piano keys while the younger one watches. Can you not hear music in the air? Do you not feel as if you are standing right behind them and observing them. For those of you who are not convinced in the superior beauty of watercolours, let me show you a similar motif by Maris but painted in the traditional oil on canvas technique. How much more delicate the watercolour looks? Like a poem on paper.

Jacob Maris, Girl at the Piano, 1879, oil on canvas

Jacob Maris, Daughter of Jacob Maris with Flowers in the Grass, 1878, watercolour and black chalk

The third and the last watercolour I’ve chosen for this post shows an idyll of a beautiful spring day; Maris’s daughter is sitting in the grass dressed in a pretty white dress and holding a little flower bouquet in her hands. Blue colour of her ribbon is echoed in the details of the bouquet, her little boots, and it’s also present here and there in the lush green grass. This watercolour truly brings the atmosphere of a lovely spring day; warm but not too warm like in the height of summer, mingled scent of many flowers hanging in the air, soft breeze which makes music in the treetops, bees buzzing somewhere in the distance, birds singing in trees. You can imagine stepping through that same grass and seeing the girl yourself, noticing the play of shadows on her dress, feeling the grass as it tickles your ankles, hearing the girl’s soft singing or rambling about her flowers. It’s more sketchy and shows the influence of Impressionism and the plein air technique on Maris, and it’s a very different approach to portraying landscape than he usually did. This painting makes it so easy to fall into a reverie, and it being spring, makes it even easier, and just look at this detail of her dress. I just love how the thin blades of grass and tiny yellow flowers are painted over her dress, and I love the stroke of lighter blue on her shoes. The scene is so airy and delicate and, to me, it brings to mind Debussy’s music.

Detail

John Singer Sargent’s Watercolours – Ladies with Parasols

9 Apr

It so happens that most of the paintings I talk about here on the blog are oil on canvas, but deep down in my heart I am an ardent lover of watercolours. I think it’s a medium full of spontaneity and feelings. So, let’s take a look at some beautiful watercolours with a mood of spring and indolence by an American Impressionist John Singer Sargent.

John Singer Sargent, The Lady with the Umbrella, 1911, detail

A beautifully dressed woman with a parasol, in nature, enjoying the sunshine and summer breeze; not quite a foreign subject to the artists, especially not to the Impressionists; Claude Monet for one painted plenty of such scenes. Still, I feel that John Singer Sargent’s explorations of this theme are particularly interesting. Firstly because they are made in watercolours, and secondly they were made in moments when Sargent was taking a break from his highly appraised oil-on-canvas portraits of Victorian and later Edwardian nobility, therefore they are more experimental and more intimate. These show Sargent’s heart, not his business.

John Singer Sargent, The Lady with the Umbrella, 1911

In “The Lady with the Umbrella”, a beautiful woman dressed in a beautiful white gown is lying on the grass; her umbrella has just rolled over and she has to hold it gently with her hand, lest the summer’s breeze might blow it away. There is an air of sweetness and delicacy about her, she looks like a large white anemone flower, but there is a hint of sensuality as well; her flushed cheeks and direct gaze, the way her little hand is holding the umbrella, the S-silhouette of her body, so typically Edwardian, clad in soft whiteness. The sitter is actually Sargent’s niece Rose-Marie Ormond. I like how closely cropped her body is; look how her dress and the umbrella are delightfully ‘cut-off’. The artist hesitates to show us all of her charms, but rather invited us to daydream of the nature surround this beauty and makes us believe her dress is indeed a flowing sea of white silk that goes on and on, lavish and soft. The painting reminds me of a scene you’d find in Merchant-Ivory films such as “A Room with a View” (1985) or “Howards End” (1992) with the beautiful Helena Bonham-Carter. Also, because of the woman’s gaze, pose and the way she’s closely-cropped, it almost reminds me of fashion photography, from the sixties and seventies as well as now. Example of what I mean is right below:

John Singer Sargent, Madame Roger-Jourdain, 1883-85, watercolour on paper, 30.5 x 55.8

Still, “The Lady with the Umbrella” isn’t the first painting of this kind that Sargent made. After 1900, Sargent often used the motif of woman lying on the grass with her parasol near her, but when he painted Henriette, this was a new thing for him. His watercolour portrait of Madame Roger-Jourdain made decades earlier is perhaps the painting that started it all. Henriette Roger-Jourdain was a daughter and the wife of two artists; her father was Henri Moulignon, and her husband was the artist Joseph Roger-Jourdain. Henriette was not just a society hostess but also a friend and a muse to many artists; composer Gabriel Fauré dedicated his composition “Aurore” to her in 1884, Paul Albert Besnard and Sargent both painted her. Sargent became acquainted with the Roger-Jourdain family because they were neighbours in the boulevard Berthier in Paris.

The painting is similar to the one we’ve seen above; a lady lying on the grass with her parasol near her, but here her body isn’t closely cropped and she is surrounded by grass; freedom all around her. One can imagine her laughing when tickled by the grass, stretching her arms and breathing in the fresh air, laughing at the tree tops that open before her eyes, wishing she could fly with the birds and be one with the baby blue sky… Dressed in a white dress, lying on that dark green grass she looks like a lotus flower on the flickering emerald green surface of a lake. The portrait oozes that fantastically indolent and sensuous “dolce far niente” mood.

John Singer Sargent, Woman with Parasol, 1888, watercolour on paper, 17.2 x 24.1 cm

Now, this third example is a tad different; the colours are darker and the woman appears more demure. She is depriving the viewer of her coquettish gaze, choosing rather to stay hidden underneath her gauzy white scarf. I really appreciate the sketch-like brushstrokes here; look how the parasol was painted with its taupe brown shadings and details in white, then the grass in a strange moss-green colour, perhaps it was an autumn day. Again, the woman’s hat and her parasol are slightly closely-cropped which helps us imagine that we are there with her, it gives an immediacy to the scene.

All painting/drawing techniques have their strengths and beauties. Drawings with pencil exude sincerity, those with charcoal possess the gloom and the strength of a tall oak. Pastels are raw pigments and their vibrancy is so psychedelic and childlike. All yet, I adore watercolours! Painting with them is such a thrill; you dip your brush in that watery paint, press is gently to the paper and let is either sink in or mingle freely with the colour next to it… and you feel like a magician, like a witch over her cauldron creating a love potion. Pure magic! Everyone should try it, it’s really therapeutic, it feels like travelling on a rainbow and making friends with each colour. I feel that, with watercolours, the painting almost creates itself; you can make a brushstroke in blue and add a mere drop of red, when water touched the two, you’ll see purple. You can play with it and see where it takes you.