Willink van Collenprijs

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File:Commissie van Beheer over de Kunstzalen van Arti et Amicitiae 1893.jpg
Committee for art exhibits in 1893, showing from left to right Geo Poggenbeek, Nicolaas Bastert, F. M. Heyl, Hein Kever and George Hendrik Breitner

Willink van Collenprijs (English: The Willink van Collen Award) is a Dutch art award which was awarded for the first time in 1880 by the Sociëteit Arti et Amicitiae. As a conveyor price of young artists he was desired. He was understood as a national counterpole to the Paris Salon. His existence of more than 71 years is proof of a successful art politics of Amsterdam. In addition, he announced many winners in the Dutch art world. Thereby it was an additional assisted takeoff for the later way. Some of the prizewinners were also recognised abroad and well known today.

Background

The "Second Golden Age of Dutch painting" was enriched by a special feature. There was a patronage of the arts community. This can also be seen in the context of the Hague School and the School of Allebé.[1]

The Amsterdam-born painter Wilhem Ferdinand Willink van Collen (1847–1881) and his wife Anna Weber-van Bosse were great art lovers. After his death he bequeathed a sum of 30.000 Gulden (Florins) to the society Arti et Amicitiae. There should be a fund be set up. The aim was to support the income from out young artists during their difficult initial phase.[2][3] This also happened before the background of the painter's schools like Düsseldorf painter's School[a], Copenhagen School[b], Weimar Saxon-Grand Ducal Art School[c],[4] the Munich School[d], Academy of Beaux-Arts to Paris[e], Accademia di Belle Arti di Firenze[f] as well as the Barbizon School[g] and the new French Impressionism[h] to give a chance to the Dutch young generation, too.

The Pariser Salon in 1890.

The annual art exhibition of the Paris Salon was the most important event, too. It was the centre of the painters of Europe and it was very difficult to be allowed to exhibite there. Five prices lent here were desired very much. It concerned two Gold Medals (medals of the 1st class) and three Silver Medals (medals of the 2nd class). Moreover, "Recognitions" and the "Honorable Mention" were pronounced. All this needed an answer in the Netherlands!

Now the board of Directors of the Association “Arti et Amiticitae” decided to hold an annual "Painting Competition" for all Dutch artists. They must have their resided in the Kingdom and not jet reached the age of 30 years.[5] Later, the age limit was raised to 35 years. The paintings were handed over unsigned. They were evaluated by the jury anonymously. There was a first place. The second place was a bonus and the third one a commendation - its structure was like the prizes of the Paris Salon. There were not always occupied all places. This approach was maintained until 1893. The jury had to deal with a problem of a special kind. The standard of entries was quiet staggering. In 1891 it was decided to select a difficult tropic for this contest to deter painter with inadequate training.

The following year, the jury decided to award no 1st place. The reason was: It was felt that "no sufficient artistic value" was presented in the submitted works.

No award and its consequences

File:Arti.jpg
The house of the Sociëteit Arti et Amicitiae in the Old Town of Amsterdam at the canal Rokin 3. From here it was awarded of the Willink van Collenprijs.

In 1893 a competition to design a mural in an art building was announced. It received seven works. They disappointed the jury. For the first time in the history of this award neither the price was awarded nor the commendation was pronounced. In 1894 the executive board differently decided to proceed. First of all they decided to buy the painting “The Snow” by George Hendrik Breitner, then to finance a study trip for three students of the Rijksacademie of Amsterdam during the Easter holidays and at last to pay a small scholarship for Dutsch artists, living in London.

This politics of the Society “Arti et Amiticitae” led in public and with the painters to nuisage. This must be seen before the background because in the meantime this Willink van Collenprijs had become a national institution with all the consequences.

Meanwhile, twentynine artists signed a common petition. This included such famous names like Hendrik Willem Mesdag, the brothers Jacob Maris and Willem Maris, Paul Gabriël and Louis Apol. Explained aim was to protest against this practise. On this huge pressure a competition was organized in 1896 again. According to the new rules there was only one winner and there were no other places. During the years 1897, 1906, 1909 and 1910 the first place was awarded several times.

Because of the political events he could not be written out consecutively. After a time of 71 Jears he was awarded for the last time in 1950.

Some themes

File:Onder vrienden.jpg
Nicolaas van der Waay (1880): Among friends - the first winner.

Selected topics were expressed

  • Among Friends - (1880),
  • Genre scene from the Dutch family - (1884),
  • Animal piece - (1886),
  • Townscape - (1888),
  • Figure Painting - (1889),
  • A landscape upholstered - (1890),
  • In the head - (1891),
  • An event in the national history - (1892),
  • Flat mural - (1893),
  • River face - (1917),
  • The life of Willem Zwijger - (1932)
  • Summer - (1935).[6]

List of winners

Winners 1880-1893

Winners from 1896-1950

Gallery of the most prize winners

  • Akkeringa Kinderen aan het strand.jpg

    Johannes Akkeringa: Kinderen aan het strand.

  • Arntzenius Spuistraat Den Haag.jpg

    Floris Arntzenius: Spuistraat Den Haag.

  • Turks leger voor Jeruzalem Rijksmuseum SK-A-3150.jpeg

    Marius Bauer (Rijksmuseum): Turks leger voor Jeruzalem.

  • Bodifee Brug Giethoorn.jpg

    Paul Bodifée: Brug Giethoorn.

  • Hendrik Johannes Haverman - Jong leven (EGM 1898-1).jpg

    Hendrik Johannes Haverman: Young Life.

  • De Hoog Wiegen.jpg

    Bernard de Hoog: Wiegen.

  • Kuypers Rivierscene.jpg

    Cornelius Kuypers: Zeilschepen op een kalme rivier.

  • Kuypers Boeren op het veld.jpg

    Cornelius Kuypers: Boeren op het veld.

  • Wally Moes - Sleeping baby.jpg

    Wally Moes: Sleeping baby.

  • Artilleristen (2).jpg

    Jan Hoynck van Papendrecht: Artilleristen (2).

  • Johan Thorn Prikker Soleil à midi c1900.jpg

    Johan Thorn Prikker: Soleil à midi.

  • Smith Vissersvrouw.jpg

    Hobbe Smith: Vissersvrouw.

  • Willem Tholen: Zomers riviergezicht met zeilschepen.

  • 20140613 Rivierlandschap bij Giethoorn Willem Tholen.jpg

    Willem Tholen: Rivierlandschap bij Giethoorn.

  • Schilderij Terras 001.jpg

    Nicolaas van der Waay: Schilderij Terras.

  • Jan Hillebrand Wijsmuller: Looking at the fishing traps.

  • Ernst Witkamp - Bezoek op het atelier.jpg

    Ernst Witkamp: Bezoek op het atelier.

  • Witsen A carriage at Waterloo Bridge.jpg

    Willem Witsen: A carriage at Waterloo Bridge.

  • View of Hattem, by Jan Voerman.jpg

    Jan Voerman: View of Hattem.

  • Willem de Zwart (Rijksmuseum): Street at Montmartre.

References

  1. ↑ This School ist also known as Amsterdam Impressionism.
  2. ↑ Maatschappij‚ Arti et Amicitiae Fonds Willink van Collen. In: Algemeen Handelsblad vom 2. August 1880.
  3. ↑ 13e Wedstrijd, uitgeschreven door het bestuur van het fonds ‚Willink van Collen‘. In: Het nieuws van den dag vom 21. Dezember 1891
  4. ↑ It is also known under the name Weimar School. From 1870 – 1900 she turned away from the traditional academic painting – neoclassizism – and opened herself to Impressionism (German Impressionism) and then to Modern Art
  5. ↑ R. Zeitler: Die Kunst des 19. Jahrhunderts. Berlin 1966 (Propyläen Kunstgeschichte, Bd. 3 German version)
  6. ↑ J. Knoef: Van Romantiek tot Realisme. Een bundel kunsthistorische opstellen. Den Haag 1947.

Notes

  • [a] The Golden Age of the Düsseldorf Painter's School lastet from 1819 - 1918.
  • [b] The high level phase of the Copenhagen School lasted from 1770 to about 1850.
  • [c] The Großherzoglich-Sächsische Kunstschule Weimar did exist from 1860 — 1910. Then it was raised to the rank of an art school.
  • [d] The Munich School originated in the sphere of the "Royal Academy of the Pedagogic Arts". She had her high-level phase of 1825 - 1914.
  • [e] The Académie royale de peinture et de sculpture, foundet in 1648 was the first Art School. In the year 1803 it becomes a new name and more independence. Under its new name Academy of Beaux-Arts it is existing til today.
  • [f] This academy has a long tradition up to now. From about 1850 to 1914 it was very important für Italy.
  • [g] The School of Barbizon had her work time from 1830 to about 1895.
  • [h] The Time of the Pre-Impressionismus ran from 1840 - 1869. The Impressionism itself endet in 1889. Then the "Belle Époque" began.

Bibliography

  • Britta Bley: Vom Staat zur Nation: Zur Rolle der Kunst bei der Herausbildung eines Niederländischen Nationalbewußtseins im langen 19. Jahrhundert. LIT-Verlag, Münster 2004, ISBN 3-8258-7902-X.
  • De Bodt, Saskia and Sellink, Manfred. Nineteenth Century Dutch Watercolors and Drawings, Museum Boijmans Van Beuningen, Rotterdam, 1998.
  • De Leeuw, Ronald et al. The Hague School Dutch Masters of the 19th Century (1983)
  • Sillevis, John, Dutch Drawings From the Age of Van Gogh, Taft Museum, Cincinnati, Ohio, 1992.
  • Sillevis, John and Tabak, Anne, The Hague School Book, Waanders Uitgegevers, Zwolle, 2004.
  • Suyver, Renske. A Reflection of Holland: The Best of the Hague School in the Rijksmuseum (2011)
  • Müllerschön, Bernd and Maier, Thomas, Die Maler der Schule von Barbizon - Wegbereiter des Impressionismus, Stuttgart, Ed. Thombe, 2002 ISBN 3-935252-01-3
  • Lévêque, Jean-Jaques: L'AUBE DE IMPRESSIONNISME - 1848 - 1869, ACR, Édition Internationale, Courbevoie, Paris, 2000, ISBN 2-86770-058-2
  • Imanse, Geurt: Van Gogh bis Cobra: holländische Malerei 1880–1950. Hatje, 1980, ISBN 3775701605.

External links

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