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Essays by American and Dutch scholars and museum curators explore the collecting and reception of seventeenth-century Dutch painting in America, from the colonial era through the Gilded Age to today.
Showcasing more than seventy paintings from public and private collections throughout the United States and Europe, Dutch Utopia: American Artists in Holland, 1880-1914 explores the work of forty-three American artists drawn to Holland during the late nineteenth and early twentieth centuries. Escaping from the rapid urbanization of their time, these artists established colonies in six communities in the Netherlands—Dordrecht, Egmond, Katwijk, Laren, Rijsoord, and Volendam—with all but Dordrecht being small, preindustrial villages. Inspired by their pastoral surroundings as well as the great traditions of seventeenth-century Dutch art and the contemporary Hague school, these American artists created visions of Dutch society underpinned by a nostalgic yearning for a premodern way of life. Some even alluded to America’s own colonial Dutch heritage, exploring shared histories and cultural connections between the two countries. Organized by the Telfair Museum of Art in Savannah, Georgia, Dutch Utopia examines the appeal of Holland for American artists during this period, through six pivotal themes: the influence of seventeenth-century Dutch painting; the impact of the contemporary Hague School; antimodernism and the American Progressive Movement; points of convergence in national identities; the proliferation of artist colonies in Holland; and the popular construction of “Dutchness” beyond the stereotypes of wooden shoes and windmills. Dutch Utopia includes works by artists who remain celebrated today, such as Robert Henri, William Merritt Chase, and John Singer Sargent, and by painters admired in their own time but less well-known now. These include accomplished women such as Elizabeth Nourse and Anna Stanley, as well as George Hitchcock, Gari Melchers, and Walter MacEwen, who built international reputations with Salon pictures of Dutch landscapes and costumed figures. These artists were among hundreds of Americans who traveled to the Netherlands between 1880 and 1914 to paint and to study. Some lived in Holland for decades, while others stayed only a week or two, but most passed quickly through the major cities to small rural communities, where they created picturesque idylls on canvas.
This fascinating and idiosyncratic work of art history chronicles the years between 1880 and 1920, when Americans went absolutely wild for all things Dutch. 210 illustrations, 30 in color.
"The need for a guidebook enabling all those interested in Dutch art to find out at a glance which paintings and drawings by particular artists or which works of applied art of various periods are to be found in the major American public collections is so obvious that it comes as a surprise to discover that none as ever been written. Until now anyone wishing to know where Dutch art from past centuries or the not-so-distant past could be seen or studied had to rely on memory or hearsay, or had to consult the countless catalogues and publications of the far flung individual museums. Since a fundamental goal of American collecting has been to educate people about all cultures, Dutch art, like the art of so many other nations, is found in virtually every city and town across the country. . . Now we have a guide that tells us where to find the art that we seek and that gives us a lively but professional analysis of the historical significance of these treasures."--Preface
The Netherlands is a relatively small country, but it has a large international impact when it comes to design. This book looks at the decades from 1890 to 1940, when modern Dutch design emerged and crystallized into a number of coherent movements. While designers in the Netherlands during this period were familiar with and influenced by ideas and trends originating outside the country, they created a distinctively Dutch design culture that remains vital in the twenty-first century.Modern Dutch Design includes four essays that examine important, and sometimes overlooked, currents that ran through this half century, as Dutch designers responded to powerful social, economic, and political changes. With more than 250 illustrations, drawn mostly from the collection of The Wolfsonian-Florida International University, it offers compelling visual evidence of the rich diversity of Dutch design in these decades.
This volume investigates the place of Dutch history and Dutch-derived culture in America over the last four centuries. It considers how the Dutch have fared in America, and it explores how American conceptions of Dutchness have developed, from Henry Hudson's historic voyage to Manhattan in 1609 through the rise of Dutch design at the turn of the twenty-first century. Essays probe a rich array of topics: Dutch themes in American arts and letters; the place of Dutch paintings in American collections; shifting American interests in Dutch art, literature, and architecture; the experience of Dutch immigrants in America; and the Dutch Reformed Church in America. Going Dutch presents a much needed overview of the Dutch-American experience from its beginnings to the present. Contributors include: Julie Berger Hochstrasser, Willem Frijhoff, Joyce D. Goodfriend, Hans Krabbendam, Joseph Manca, Nancy T. Minty, Mark A. Peterson, Christopher Pierce, Judith Richardson, Louisa Wood Ruby, Benjamin Schmidt, Robert Schoone-Jongen, Annette Stott, Tity de Vries, and Dennis P. Weller.
Heda's Banquet Piece, Frans Hals' Willem Coymans, and Rembrandt's Lucretia. Paintings by these and other masters attracted the American collectors P. A. B. Widener, his son Joseph, and Andrew W. Mellon, whose bequests form the heart of the National Gallery's distinguished and remarkably cohesive collection of ninety-one Dutch paintings.