Frases de Jozef Israëls

Jozef Israëls photo
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Jozef Israëls

Data de nascimento: 27. Janeiro 1824
Data de falecimento: 12. Agosto 1911

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Jozef Israëls foi um pintor neerlandês.

Nascido no seio de uma família judaica de ascendência portuguesa, o seu pai queria que ele se tornasse um homem de negócios, e foi depois de uma luta determinada com a família que conseguiu enveredar pela carreira artística.

Porém, as tentativas que ele fez sobre a direção de dois pintores na sua terra natal, Buys e van Wicheren, enquanto continuava trabalhando para seu pai como agente balconista, enviado para Amsterdã, onde tornou-se um aluno de Jan Kresuman e tentou aulas de desenho na academia. Depois foi enviado para Paris, trabalhou no estúdio de Picot, e retornou a Amsterdã. Lá, ele permaneceu até 1870, quando mudou-se para Haia.

Israëls foi freqüentemente comparado com Jean-François Millet. Como artistas, muito mais que pintores no real sentido da palavra, ambos, de fato, viram na vida pobre e humilde um motivo de expressão peculiar intenso nas suas simpatias; mas Millet foi o poeta da plácida vida rural, enquanto em quase todas as telas de Israëls há uma nota penetrante de aflição. Duranty disse que eles foram pintores com obscuridade e sofrimento.

Começou com temas históricos e dramáticos em estilo romântico do dia. Por casualidade, após uma enfermidade, foi recrutar sua força na cidade pesqueira de Zandvort, próximo a Haarlem. Foi dotado de uma nova visão de expressão artística, sinceramente realista, cheio de emoção e piedade.

Em meio de seus mais importantes trabalhos subseqüentes estão O pescador de Zadnvoort, A Casa Silenciosa e Aldeia Pobre.

Em 1862 alcançou grande sucesso em Londres com o Náufrago, comprado por Mr. Young, e O Berço, duas telas que a revista Athenaeum descreveu como a mais tocante tela da exibição.

Seus últimos trabalhos incluem O Viúvo, Quando nós crescemos velhos e sós no mundo, Um Interior, Uma Comida Econômica, Diálogo Mudo, Entre o Fields e a Beira-mar,.

Citações Jozef Israëls

„.. on my travels, for example, abroad,.. I see things that attract me, in the works of others, - which impress me. That's what you reflect upon at times. And when you come home you think: Me too have to make something like that... Then you start, and when it's finished it looks like the work of that person or another... But your own originality doesn't get lost, - your sentiment remains!.. And this happens not only to me, - this happens to others also... Unintentionally you continue to build on motives of others.. (translation from the original Dutch: Fons Heijnsbroek)“

—  Jozef Israëls
version in Dutch (citaat van Jozef Israëls, in het Nederlands): ..op mijn reizen bijvoorbeeld, in het buitenland,. ..ik zie dingen die me aantrekken, in werken van anderen, - die me imponeeren. Daar denk-je dan eens over na. En als je dan thuiskomt denk-je: zoo iets moet ik toch óók eens maken.. .Dan begin-je eraan, en als 't klaar is lijkt het op het werk van dien of dien.. Maar je eigen originaliteit gaat tòch niet verloren, - je sentiment blijft!. ..En zo gaat het niet alleen met mij, - zoo gaat het ook met anderen.. .Je bouwt onwillekeurig voort op motieven van ànderen.. Quoted by N.H. Wolf, in 'Bij onze Nederlandsche kunstenaars. IV. - Jozef Israëls, Grootmeester der Nederlandsche Schilders', in Wereldkroniek, 8 Feb. 1902

„I want to put over my emotions in the spectator, - I want to make him fascinated by the scene, which I have not only seen with my naked eyes, but which I have seen moving deep inside myself. (translation from the original Dutch: Fons Heijnsbroek)“

—  Jozef Israëls
version in original Dutch (citaat van Jozef Israëls's brief, in het Nederlands): Ik wil in den beschouwer mijne aandoeningen overbrengen, - ik wil hem laten boeijen door het tafereel, dat ik niet enkel met mijn bloot oog gezien hebben, maar dat ik diep in mij heb zien bewegen. Quote of Israëls in his letter in 1891, to an unknown person; as cited in the museum-catalog, Museum Mesdag, 1996, p.236, note 10

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„That is always difficult [making a repetition of an sold painting] and can only become a potboiler. (translation from the original Dutch: Fons Heijnsbroek)“

—  Jozef Israëls
version in original Dutch (citaat van Jozef Israëls in Nederlands): Dat is altijd lastig [een herhaling maken van een al verkocht schilderij] en kan slechts een potboiler [ding voor de verkoop] worden. In a letter, 13 Dec. 1876, to art-sellers Pilgeram & Lefèvre in London; Foundation Custodia, Paris,input no. 1971-A.506 Israëls was asked to make a duplicate of his painting 'Karig Maal / The Frugal Meat', but refused it and proposed a painting with the same subject, a shoemaker figure, but now sitting at a cradle with his wife cutting bread in the background

„.. an original Jewish art can only come into existence when the Jews have own ground under their feet and live in freedom [Bainin asked him: 'is that not what Zionism wants to reach?'] Yes, Zionism is a noble thought, but who knows whether they will reach their goal? Herzl visited me [in The Hague, Oct. 1898], he is a noble man and believes in his idea. But who will know... Now it is our duty to fight against Antisemitism, to protest against the injustice and violence that is done to us.... what is the essence of Jewish art should be determined by writers and art critics: we painters must work and not philosophize. (translation from the original Dutch: Fons Heijnsbroek)“

—  Jozef Israëls
version in Dutch (citaat van Jozef Israëls, in het Nederlands): ..een oorspronkelijke joodse kunst [kan] alleen tot stand komen, wanneer de joden eigen grond onder de voeten hebben en een vrij leven leiden [Bainin vroeg hem dan: 'is dat niet wat het Zionisme wil?'] Ja, het heeft mij bezocht [in Den Haag, Oct. 1898], hij is een nobel mens en gelooft in zijn idee. Maar wie weet.. .Nu is het onze plicht het antisemitisme te bestrijden, tegen het onrecht en het geweld dat ons wordt aangedaan te protesteren.. ..wat het wezen is van de joodse kunst moeten schrijvers en kunstcritici maar bepalen: wij schilders moeten werken en niet filosoferen. Quote in an interview with interviewer Bainin, 27 April 1902; as cited in Jozef Israëls, 1824 – 1911, ed. Dieuwertje Dekkers; Waanders, Zwolle 1999, p. 59 At the moment Jozef was working on his painting 'De joodse wetschrijver' or 'De Joodse Bruiloft'

„You should write about me, just like you did about Degas (translation from the original Dutch: Fons Heijnsbroek)“

—  Jozef Israëls
version in original Dutch (citaat van de tekst van Jozef Israëls, in het Nederlands): Net zoals over Remark of Israëls in a talk with the German painter Max Liebermann, c. 1899-1900, drinking coffee together in Scheveningen; as cited and translated by J. Sillevis and others, in exhibition catalog 'Lieberman en Holland, Haags Gemeentemuseum, Den Haag 1980, pp. 15-16

„The title [of an album with prints of Israels and poems after his pictures, made by Nicolaas Beets ] will not be I hope 'Kroost der zee' ['Offspring of the Sea']. I think this is an insufferable dissonance. Call it 'Sketches from Fisher's life - of B to J.' I think that is the best, the simplest and the most attractive name. Also the word 'to' gives me justice, otherwise people will think that I made them [his pictures] after Beets and not Beets [his poems] after me. (translation from the original Dutch: Fons Heijnsbroek)“

—  Jozef Israëls
version in original Dutch (citaat van Jozef Israëls in Nederlands): De titel [van een album met prenten van Israels en gedichten daarop van ] zal toch hoop ik niet zijn, 'Kroost der zee'.- zulks vind ik van een onuitstaanbare wanklank laat het heeten 'schetsen uit het visschersleven van B naar J. ' dat vind ik de beste eenvoudigste en meest aantrekkelijke naam. Tevens het woordje 'naar' doet mij regt, daar anders men meenen zoude dat ik ze naar Beets en niet Beets naar mij gemaakt heeft. Quote in his letter to publisher in The Hague, 1861; as cited in LTK 1390 nr. 11, University Library of Leiden the compromise between Beets and Israëls became 'The Children of the Sea'; the album was published in four episodes, the first on 7 June, 1861

„Too literary. (translation from the original Dutch: Fons Heijnsbroek)“

—  Jozef Israëls
version in Dutch (citaat van Jozef Israëls, in het Nederlands): Te literair. short note in Israëls' Journal, 12 Dec. 1903, (in Jan Veth 1903, nr. 6); as cited in Jozef Israëls, 1824 – 1911, ed. Dieuwertje Dekkers; Waanders, Zwolle 1999, p. 199 Israëls was citing here Sientje Mesdag-van Houten who was characterizing his work that day; several of Israëls' paintings were present in the collection of Mr and Mrs Mesdag

„The picture of the 'New Flower' ['Het Bloempje', 1880] is really one of those I did with much idea of having to express loveliness and youth both in human feeling and in the naturally plants of flowers, and If I may say don't you find, that I have succeed in this composition?“

—  Jozef Israëls
Quote from his letter, 23 March 1906, to F.W. Gusaulus in Toledo, (TMA); as cited in Jozef Israëls, 1824 – 1911, ed. Dieuwertje Dekkers; Waanders, Zwolle 1999, p. 306 This remark Israëls wrote 26 years after finishing the watercolor; probably it was a gift to the American art-critic

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„No, the Dutchman is not cold, not insensitive, our people are still full of enthusiasm for what is noble and good. Holland above all! We artists, from Rembrandt to Maris, rave over our country. We find our Holland a delicious beautiful country with its meadows, its beaches, its sea, its domestic interiors, its figures, peasants, farmers, Jews, merchants, everything is similar picturesque as it is all just up for grabs. The most beautifully in the Netherlands is however Amsterdam, that delicious spacious Amsterdam, which is expressing so much and uniting so much in itself. (translation from the original Dutch: Fons Heijnsbroek)“

—  Jozef Israëls
version in original Dutch (citaat van Jozef Israëls, in Nederlands): Neen, de Nederlander is niet koud, niet ongevoelig, ons volk is nog steeds vol geestdrift voor wat edel en goed is. Holland bovenal! Wij kunstenaars, van Rembrandt tot , dwepen met ons land. Wij vinden ons Holland een heerlijk mooi land met zijn weiden, zijn stranden, zijn zee, zijn binnenhuizen, zijn figuren, boeren, landlieden, joden, kooplieden, alles is even schilderachtig, als maar voor het grijpen. Het mooiste van Nederland is echter Amsterdam, het heerlijk ruim Amsterdam, waarvan zoveel uitgaat en dat zooveel in zich vereenigt. Quote from Israëls' speech of thanks at the honoring-party for his 70th birthday in Arti et Amacitiae in Amsterdam, Feb 1885; as cited in 'Jozef Israëls in Arti', in Algemeen Hadelsblad, 6 Feb. 1895

„.. but I must have it back [a sketch of mother with child at the breast] very soon, because I become attached to it... Such a sketch is a part of my life; it always stays. I use it ten or twenty times... It is a foundation on which I build. (translation from the original Dutch: Fons Heijnsbroek)“

—  Jozef Israëls
version in Dutch (citaat van Jozef Israëls, in het Nederlands): ..maar, ik moet ze [een schets van moeder met kind aan de borst] heel gauw terug hebben, want ik hecht eraan.. .Zoo'n schets is een deel van mijn leven; die blijft altijd. Die gebruik ik tien, twintig maal.. .'t Is een basis, waar ik op bouw. Quoted by N.H. Wolf, in 'Bij onze Nederlandsche kunstenaars. IV. - Jozef Israëls, Grootmeester der Nederlandsche Schilders', in Wereldkroniek, 8 Feb. 1902 Wolf wanted to lent the sketch to have a good photo taken of it for his article about Israëls

„.. it [his watercolor 'New Flower' ['Het Bloempje', 1880] is one of those pictures, I did my best to finish it highly, as the story is nice and pleasant [where] other pictures may be more necessarily rough or strong being paint in an other mood. But this new flower needed a tender hand and conspicuous attention for details.“

—  Jozef Israëls
Quote from his letter, 23 Nov 1906, to E.D. Libbey in Toledo (TMA); as cited in Jozef Israëls, 1824 – 1911, ed. Dieuwertje Dekkers; Waanders, Zwolle 1999, p. 306 E.D. Libbey was one of the initiators of the Toledo-museum; the watercolor was in his private collection till 1925

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„That's how it is
One day two paintings were hanging,
Right opposite each other
Really colorful and beautiful the one
And the other simple and honest
* That simplicity and truth are the characteristics
of science and of art.
Well, people can not understand that.
It was to the tinsel that they gave their favor. (translation from the original Dutch: Fons Heijnsbroek)“

—  Jozef Israëls
version in original Dutch (kort gedicht van Jozef Israëls, in het Nederlands): Zoo is het Er hingen eens twee schilderijen, Juist vlak tegenover elkaar Regt kleurig en schitterend de eene En d'ander eenvoudig en waar ** Dat eenvoud en waarheid het kenmerk Van wetenschap is en van kunst Och, dat kan het volk niet begrijpen En [aan] 't klatergoud schonk het zijn gunst. A short poem of Israëls, written in his letter from The Hague, 13 Dec. 1876 to art-seller Pilgeram & Lefèvre in London; from collection of Fondation Custodia, Institut Neérlandais Paris, input no. 1971-A 506

„It certainly will please you to read that after my small painting ['First Love', c. 1856] what you have seen in Rotterdam, a large lithography is being made now by Lord Mouilleron, France's first lithographer... It becomes very beautiful. (translation from original Dutch text: Fons Heijnsbroek).“

—  Jozef Israëls
version in original Dutch (citaat uit de brief van Jozef Israëls in het Nederlands): Het zal u zeker plaisier doen te vernemen dat naar mijn schilderijtje ['Eerste Liefde', c. 1856] welke gij in Rotterdam gezien hebt eene groote lithografie vervaardigd wordt en wel door Heer Mouilleron, Frankrijks eerste lithograaf.. .Hij wordt zeer mooi. Quote in his letter from Amsterdam, 1857, to publisher in The Hague; from LTK 1795, XIII nr. 140, University Library of Leiden Mouilleron was making the lithography at the studio of Israëls on the Rozengracht in Amsterdam, under the eyes of the painter himself

„And there we have my good rabbi.... he came up so tired in the studio, and then I put him down here. There was such a real seat in that guy, so with his pants slumped. That's nice, isn't it, that long black cloak with those wide folds and that slackly beer mat. He is holding the Torah role in his arm, do you see?... I known that old rab for a lot of years already, and with Purim and Rosh HaShanah [Jewish New Year] he comes faithfully around for his douceur [tip]. (translation from the original Dutch: Fons Heijnsbroek)“

—  Jozef Israëls
version in Dutch (citaat van Jozef Israëls, in het Nederlands): En dan heb je daar m'n goeie rebbe.. ..Hij kwam zo moe-gesjouwd 't atelier op, en toen heb ik hem hier neergezet. Daar zat zo'n echte zit in, in dien kerel, zoo met zoo'n uitgezakte broek.. .Da's mooi, nie-waar, die lange zwarte mantel met die wijde plooien en dat slappe viltje op.. .Hij heeft 't Seifer [de Tora-rol] in z'n arm, zie je wel?. ..Dien ouwe ribbe ken ik toch al wat 'n jaren, en met Poerim en Rausj Hasjoe [Joodse Nieuwjaar] komt ie trouw om z'n douceurtje. Quote by Israëls, Jan. 1904, as cited in Jozef Israels, W.L. Brusse, 1905, pp. 135-136

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