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Jozef Israels
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Interior_of_a_Hut_(mk06)
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3'_5''_x_4'_4_3/4''(104_x_134_cm)Gift_of_Abraham_Preyer,1926_RF_2550
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Click to Enlarge
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| Jozef__Israels
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Interior of a Hut (mk06)
new6/Jozef Israels-594926.jpg
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| 3' 5'' x 4' 4 3/4''(104 x 134 cm)Gift of Abraham Preyer,1926 RF 2550 |
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1824-1911
Dutch
Jozef Israels Gallery
Israels has often been compared to Jean-François Millet. As artists, even more than as painters in the strict sense of the word, they both, in fact, saw in the life of the poor and humble a motive for expressing with peculiar intensity their wide human sympathy; but Millet was the poet of placid rural life, while in almost all Israels' pictures there is some piercing note of woe. Edmond Duranty said of them that they were painted with gloom and suffering.
He began with historical and dramatic subjects in the romantic style of the day. By chance, after an illness, he went to recruit his strength at the fishing-town of Zandvoort near Haarlem, and there he was struck by the daily tragedy of life. Thenceforth he was possessed by a new vein of artistic expression, sincerely realistic, full of emotion and pity.
Among his more important subsequent works are The Zandvoort Fisherman (in the Amsterdam gallery), The Silent House (which gained a gold medal at the Brussels Salon, 1858) and Village Poor (a prize at Manchester).
In 1862 he achieved great success in London with his Shipwrecked, purchased by Mr Young, and The Cradle, two pictures that the Athenaeum magazine described as the most touching pictures of the exhibition.
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