Artwork Details
27 x 30 in. (canvas) 38-1/4 x 42 x 2-7/16 in. (framed, glazed)
Mark DescriptionSigned lower right: Jan Toorop 89
Accession NumberGift in memory of Robert S. Ashby by his family and friends
CopyrightEuropean Painting and Sculpture 1800-1945
Color PaletteC. Sijtoff, Rotterdam, The Netherlands, by 1894.{1} C. van Stolk, Rotterdam, by 1928 and in his family until at least 1937.{2} (Kunsthandel Ivo Bouwman, The Hague).{3} (John and Paul Herring & Co., New York, New York), probably by 1973;{4} Walter F. Brown, San Antonio, Texas; {5} Acquired by the Indianapolis Museum of Art, Indianapolis, Indiana, in 2000. {1} Sijthoff is listed as the owner in the exhibition catalogue "Tentoonstelling van Schilderijen en teekeningen van Jan Toorop," Kunstzaal Stedelijk Museum (Lakenhal), Leiden, 6 February - 1 March 1894, no. 4. (A facsimile of this catalogue appears in J.M. Joosten, "De eerste solo-tentoontelling van Jan Toorop," Antiek, 11 nr. 7 (February 1977): p. 577, with installation photos of this exhibition showing Broek in Waterland, p. 574.) {2} Probably Cornelis Adriaan Pieter van Stolk [1857-1934], scion of a wealthy shipping family and member of the Rotterdam "Kunstkring". In 1928 C. van Stolk is given as the owner in "Eere-tentoonstelling Jan Toorop," Den Haag (Pulchri Studio), The Hague, no. 23; information from RKD (Rijksbureau voor Kunsthistorische Documentatie), The Hague, via e-mail in April 2007. In 1936-36 the owner is given as "Verzameling: C. van Stolk" in Schilderijen uit de divisionistische school van Georges Seurat tot Jan Toorop," Museum Boymans, Rotterdam, 1936-37, no. 68 (illustration). {3} Confirmed with Ivo Bouwman via e-mail in April 2007. {4} Robert Siebelhoff's dissertation, "The Early Development of Jan Toorop, 1879-1892," Ph.D., University of Toronto, 1973, identifies the owner as private collection, New York." This is likely a reference to the dealers John and Paul Herring, who often chose to remain anonymous about the paintings that passed through their hands, see "Quiet Partners in Big Art-World Business," New York Times, 14 May 1994. {5} IMA Temporary Receipt no. 9438.
- In this carefully composed landscape, narrow canals and rows of pollard willows form strong diagonals that intersect the ribbons of color in the evening sky. Even the figures contribute to this taut network. Gliding through the water at day’s end, they may reflect the artist’s sympathy for laborers, a sentiment shared by many Neo-Impressionists.
- Broek in Waterland is the name of a beautiful village near Amsterdam that Toorop, the most influential of Seurat’s Dutch followers, visited in 1889. The artist applied the regular dotted brushwork common to the style, but chose unusual colors for this twilight scene that do not strictly follow standard Neo-Impressionist practice.
Exhibition Name
Venue
Dates
Neo-Impressionism: Paris - Brussels - c. 1890
The Phillips Collection
September 27, 2014 - January 11, 2015
On Country Roads and Fields - The Depiction of the 18th and 19th Century Landscape
Rijksmuseum
November 28, 1997 - March 3, 1998
La beaute exacte-Art paye-Bas Xxe Siecle, de Van Gogh a Mondrian
Musée d'art Moderne de la Vile de Paris
February 14, 1994 - August 15, 1994
De Schilders van Tachtig, Nederlandse Schilderkunst1880-1895
Rijksmuseum
1994 - 1994
The Age of Van Gogh, Dutch Painting 1880-1895
The Burrell Collection
November 10, 1990 - February 10, 1991
[exhibition]
The Royal Academy of Art, The Hague
1924 - 1924
[exhibition]
1904 - 1904
[exhibition]
1891 - 1891
Les Vingt
1890 - 1890
Les Vingt
1889 - 1889
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