Charles Rochussen (1814 -1894 ) - Koopman met klanten op bospad
Oil on panel 32x19. Beautiful Gehring frame around it
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After Nuijen's death, Rochussen moved to Brabant where he met the painter Tavenraat, and drew and painted several landscapes there. He also showed early on a special skill in drawing figures and landscapes; he drew everything he wanted with great ease. This made him the first illustrator of his own time; illustrating books became his specialty; he did a lot of etching and engraving. For example, several lithographs by his hand were published in the 'Kunstkronijk' of 1841-42, such as 'Bom[schuit] op het strand' and 'De Veerpont'. He made the first lithograph after his own watercolor (from 1840) in which a kinship with his teacher Nuijen was still clearly recognizable; especially in the bustle and activity of the figures around an incoming fishing boat. In 1840-41 an edition of Vondel's 'Gijsbrecht van Amstel' appeared, illustrated with 14 lithographs by Rochussen that clearly showed his early interest in history. In those years he was soon called 'a genuine artist of many talents'. He made many paintings with images from Dutch history, military pieces, city and beach scenes, hunting parties and horse races. Rochussen made several foreign trips, visiting Germany, France and Belgium among other places.
During the time that Rochussen lived in The Hague he was good friends with Sam Verveer 'the soul of the Hague painters of that time' and with Charles Leickert; for the latter he furnished a work at least once; he painted the figures in an already completed painting by his friend; both would leave for Amsterdam in 1849 and work there. After a stay of twenty years in Amsterdam (from 1849 to 1869) he returned to Rotterdam; in the nineteenth-century trading city Rochussen was a leading personality. The Rotterdam notable was both an artist and designer (of, for example, historical parades) and a director of the Rotterdam art academy and various cultural organisations.
Rochussen painted history pieces; in particular many scenes from Dutch history; in the first half of the nineteenth century, these history paintings were highly regarded. Art had to resemble that of the Golden Age and had the task of telling a story, preferably about events from the Eighty Years' War. Art, it is sometimes said, was viewed 'with the ears' at that time. For decades, people saw their own history as Rochussen entrusted it to canvas. Later, however, many found him to be becoming too modern in his painting style. Rochussen's work also shows a good sense of observation.
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Oil on panel 32x19. Beautiful Gehring frame around it
Provenance Sotheby s see last photo
Send with list at buyer's risk. List is included free of charge
After Nuijen's death, Rochussen moved to Brabant where he met the painter Tavenraat, and drew and painted several landscapes there. He also showed early on a special skill in drawing figures and landscapes; he drew everything he wanted with great ease. This made him the first illustrator of his own time; illustrating books became his specialty; he did a lot of etching and engraving. For example, several lithographs by his hand were published in the 'Kunstkronijk' of 1841-42, such as 'Bom[schuit] op het strand' and 'De Veerpont'. He made the first lithograph after his own watercolor (from 1840) in which a kinship with his teacher Nuijen was still clearly recognizable; especially in the bustle and activity of the figures around an incoming fishing boat. In 1840-41 an edition of Vondel's 'Gijsbrecht van Amstel' appeared, illustrated with 14 lithographs by Rochussen that clearly showed his early interest in history. In those years he was soon called 'a genuine artist of many talents'. He made many paintings with images from Dutch history, military pieces, city and beach scenes, hunting parties and horse races. Rochussen made several foreign trips, visiting Germany, France and Belgium among other places.
During the time that Rochussen lived in The Hague he was good friends with Sam Verveer 'the soul of the Hague painters of that time' and with Charles Leickert; for the latter he furnished a work at least once; he painted the figures in an already completed painting by his friend; both would leave for Amsterdam in 1849 and work there. After a stay of twenty years in Amsterdam (from 1849 to 1869) he returned to Rotterdam; in the nineteenth-century trading city Rochussen was a leading personality. The Rotterdam notable was both an artist and designer (of, for example, historical parades) and a director of the Rotterdam art academy and various cultural organisations.
Rochussen painted history pieces; in particular many scenes from Dutch history; in the first half of the nineteenth century, these history paintings were highly regarded. Art had to resemble that of the Golden Age and had the task of telling a story, preferably about events from the Eighty Years' War. Art, it is sometimes said, was viewed 'with the ears' at that time. For decades, people saw their own history as Rochussen entrusted it to canvas. Later, however, many found him to be becoming too modern in his painting style. Rochussen's work also shows a good sense of observation.
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Time, Location
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