Jozef Israels

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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Jozef Israels Interior of a Hut (san23) oil


Interior of a Hut (san23)
Painting ID::  20818 		Interior of a Hut (san23)
3' 5"x4' 4 3/4"(104x134cm) Gife of Abraham Preyer,
3'_5"x4'_4_3/4"(104x134cm) Gife_of_Abraham_Preyer,
   
   
     
Jozef Israels Interior of a Hut (mk06) oil


Interior of a Hut (mk06)
Painting ID::  21132 		Interior of a Hut (mk06)
3' 5'' x 4' 4 3/4''(104 x 134 cm)Gift of Abraham Preyer,1926 RF 2550
   
   
     
Jozef Israels On the Dunes oil


On the Dunes
Painting ID::  38934 		On the Dunes
mk142 ca.1880 Oil on canvas Courtesy of Bonham-s London
   
   
     
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     Jozef Israels
     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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