Hinde-Rywielen. 1896.
Artist: JOHANN G. VAN CASPEL (1870-1928)
Size: 42 1/4 x 30 3/4 in./107.5 x 78 cm
Condition: B-/ Restored tears at folds.
Printer: Amand, Amsterdam
Reference: Ref: Dutch Poster, 85; Modern Dutch Poster, 9; Reims, 1546; Posters NL, p. 68; Van Caspel, 1; Weill, 148; PAI-LXXIX, 25
Key Words: Art Nouveau; Bicycles; Children
Hinde-Rywielen. 1896.
This portrait painter and furniture designer created few classic posters, but all of them are distinctive, and a couple of them are classics, such as De Hollandsche Revue (see PAI-XXVII, 318) and this one. Typically, he uses flat colors very effectively to make the restrained image deliver its message with overpowering charm. “Van Caspel’s first poster... concedes almost nothing to the fashion for decorative curves. A young woman, her eyes fixed ahead of her and the hint of a smile on her face, pedals along a country road while two admiring children watch with comparative expressions of quiet pleasure. The poster’s flat unadorned patterns and bright simplicity echo the solitary enjoyment presented in it by the then fashionable sport of bicycling. The precise geometry and parallel edges of the road, hedgerow, horizons, and fields in the distance give the work the appearance of a reduced neo-impressionist composition” (Modern Dutch Poster, p. 14).
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Artist: JOHANN G. VAN CASPEL (1870-1928)
Size: 42 1/4 x 30 3/4 in./107.5 x 78 cm
Condition: B-/ Restored tears at folds.
Printer: Amand, Amsterdam
Reference: Ref: Dutch Poster, 85; Modern Dutch Poster, 9; Reims, 1546; Posters NL, p. 68; Van Caspel, 1; Weill, 148; PAI-LXXIX, 25
Key Words: Art Nouveau; Bicycles; Children
Hinde-Rywielen. 1896.
This portrait painter and furniture designer created few classic posters, but all of them are distinctive, and a couple of them are classics, such as De Hollandsche Revue (see PAI-XXVII, 318) and this one. Typically, he uses flat colors very effectively to make the restrained image deliver its message with overpowering charm. “Van Caspel’s first poster... concedes almost nothing to the fashion for decorative curves. A young woman, her eyes fixed ahead of her and the hint of a smile on her face, pedals along a country road while two admiring children watch with comparative expressions of quiet pleasure. The poster’s flat unadorned patterns and bright simplicity echo the solitary enjoyment presented in it by the then fashionable sport of bicycling. The precise geometry and parallel edges of the road, hedgerow, horizons, and fields in the distance give the work the appearance of a reduced neo-impressionist composition” (Modern Dutch Poster, p. 14).
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