巴伦德.科内利斯.库库克Barend Cornelis Koekkoek（1803年10月11日—1862年4月5日），荷兰景观艺术家。
Barend Cornelis Koekkoek是一生中被称为“山水画王子”,是迄今为止最欢迎的风景画家,他的时间和被视为荷兰的浪漫主义风景画的国父。无尽的奖项和装饰品的接受者,他跻身客户第四friedrich - wilhelm gerstengarber普鲁士国王,沙皇亚历山大二世,荷兰国王威廉二世。
他生长在一个艺术环境。他的父亲约翰内斯Hermanus Koekkoek(1778 - 1851)是一个著名的海洋画家,最早从他收到了他的学费。他的兄弟们Hermanus Koekkoek(1815 - 1882)绿Adrianus Koekkoek(1807 - 1868)都成功的艺术家,第一次作为一个画家的海洋主题和河的场景,第二个风景画家。1817年他进入绘画学院船帆,在那里他学习了亚伯拉罕Krayestein。在1822年移居阿姆斯特丹,他学习了四年Koninklijke Academie van Beeldende Kunsten,到1824年,在19岁的时候,他表示他的野心成为一个画家的风景。
Barend Cornelis Koekkoek Waldlandschaft麻省理工学院Hirten和Vieh 1857
他集中在夏季和冬季的丰富的森林景观,一个主题从四季系列中扣除。像其他浪漫画家等卡斯帕大卫弗里德利希,Koekkoek画在施加微小的人物的图案,雄伟的自然环境之下卑微的人类的伟大创造。
这是一个黄金时代流行的主题,灵感的主要来源为19世纪的艺术家。两年呆在农村设置【(1826 - 1827)、住房景观和牛的殖民地画家,加强他的决定。农村环境的风景他画【收到好消息。1829年,阿姆斯特丹的社会Felix Meritis授予Koekkoek夏天风景的金牌。1833年,他结婚了伊莉斯Therese Daiwaille(1814 - 81),他的女儿长期老师和朋友,主人吉恩·奥古斯汀Daiwaille他有五个女儿。
公元前肖像Koekkoek
平坦的荷兰乡村不能满足Koekkoek浪漫灵魂很久。“肯定”,Koekkoek在1841年写道“我们祖国自诩没有岩石,瀑布、高山或浪漫的山谷。自豪,崇高自然不是我们的土地”。有鉴于此,在1834年的夏天他搬到老公爵领地的首都克利夫斯,德国,在那里他找到了他的理想的气道高反应性主题的地区,鲁尔和莱茵河。很快大橡树,蜿蜒的路径和全景充满他的画作和大气的细枝末节的巧妙的混合情绪。在克利夫斯,他将花费他的余生,Koekkoek画他最重要的景观,从广泛的河谷田园诗般的森林视图由一个或多个橡树。他常常戏剧化树作为一种手段来强调人的自然相比,不足取。
到1841年,Koekkoek赢得了这样的把他的艺术家,他决定出版一本课程的学生,Herinneringen en Mededeelingen van eenen Landschapsschilder(“山水画家的回忆和通讯”),他认为,艺术家必须播出,最重要的是,忠于自然通过细致的观察和严格的制图术。这个开创性的工作悠闲的形式沿着莱茵河之旅,指出读者各种自然和景观质量。同年,在受欢迎的年轻艺术家的需求渴望收到他的学费,Koekkoek创办了自己的绘画学院(Zeichen执行管理委员会),在他的脚步,许多艺术家前往前公爵的住处寻求教学大师的学院,在他们中间弗雷德里克·Kruseman,Lodewijk Johannes Kleijn,约翰·伯纳德Klombeck。密切遵守主人的原则表示在他的作品中,在他的画中,这些艺术家共同催生了山水画的学校被称为“克利夫斯浪漫主义”,融合现实主义溥理想化的气氛。他建议他的学生学习自然密切观察光的品质在黎明和日落和风暴的发展。他还带领他的学生在考试中17世纪的荷兰大师。1840年的50年代的作品看到Koekkoek在他的天才的高度。1859年11月Koekkoek遭受重大中风有效地结束了他的职业生涯作为一个画家。他死于1862年4月5日,在他心爱的克利夫斯的小镇。
“森林场景”(1848年),博物馆阿姆斯特丹
Koekkoek绘画揭示仔细研究和合成的17世纪荷兰画家。他的艺术是牢牢地扎根于伟大的荷兰17世纪建立的浪漫传统大师:Hobbema,Cuyp,Ruisdael和Wynants。旅行者的金光和包容他的研究表明Koekkoek也欣赏荷兰17世纪的意大利风格的画家,统称为市井,特别是Pieter van的激光和1月两.
Koekkoek想象他的照片是一个理想的结果的观察和技巧。他学习艺术和自然以同样的敏锐度,创造美丽的风景画,著名的伟大创造。Koekkoek的工作力量,让观众印象最深的公司和正确的树木,建设广泛,自然增长的叶子和树枝,[和]小心和精心繁殖的森林景观的(g . h .马吕斯,19世纪的荷兰画家,弗吉尼亚州伍德布里奇1973年p.89)。这一天,Koekkoek工作非常青睐的活泼的成分和怀旧的心情,在这荷兰黄金时代似乎停留在。就像他在自己的有生之年,Koekkoek被广泛认为是荷兰浪漫主义的最有成就的风景画家,与同时代的严谨精致的绘画工作。
Koekkoek金融的成功让他在市区购买的一块土地Kleve1842年,建立一个大别墅意大利风格的风格在接下来的七年。[1]在他死后1862年,房子已经卖掉,大多数的家具被拍卖阿姆斯特丹。1902年,德国医生汉斯·范·Ackeren购买和扩大了财产,一个扩展添加到房子和改造其内部新艺术风格。幸运的是二战的房子依然在本质上是破损,它随后被用作市政厅多年在此期间举办艺术Kleve艺术家协会的年度展览。[2]从1960年它成为了市博物馆,1997年回到它的状态作为一个艺术家的住所。
Barend Cornelis Koekkoek came to be known during his lifetime as the “Prince of Landscape Painting” and was by far the most applauded landscapist of his time and regarded as the founding father of Dutch romantic landscape painting. The recipient of endless awards and decorations, he counted among his clients King Friedrich-Wilhelm IV of Prussia, Tsar Alexander II, and King Willem II of the Netherlands.
He grew up in an artistic environment. His father Johannes Hermanus Koekkoek (1778–1851) was a renowned marine painter, from whom he received his earliest tuition. His brothers Hermanus Koekkoek (1815–1882) and Marinus Adrianus Koekkoek(1807–1868) were both successful artists, the first as a painter of marine subjects and river scenes, the second as a landscapist. In 1817 he enrolled at the Drawing Academy of Middelburg, where he studied under Abraham Krayestein. On moving to Amsterdam in 1822, he studied for four years at the Koninklijke Academie van Beeldende Kunsten, and by 1824, at 19 years of age, he voiced his ambition to become a painter of landscapes.
He concentrated on extensive wooded landscapes in summer and winter, a theme deducted from the four season series. Like other Romantic painters such as Caspar David Friedrich, Koekkoek painted the motif of tiny figures within imposing, majestic natural environments to contrast humble humanity with the greatness of creation.
This was a popular subject matter in the Golden Age, the main source of inspiration for nineteenth-century artists. A two years stay in the rural setting of Hilversum (1826–1827), housing a colony of landscape and cattle painters, strengthened his decision. The landscapes he painted in the rural surroundings of Hilversum were received favourably. In 1829, the Amsterdam society Felix Meritis awarded one of Koekkoek's summer landscapes a gold medal. In 1833 he married Elise Thérèse Daiwaille (1814–81), the daughter of his longtime teacher and friend, Master Jean Augustin Daiwaille, with whom he had five daughters.
The flat Dutch countryside could not satisfy Koekkoek’s romantic soul for very long. ‘Surely’, Koekkoek wrote in 1841 ‘Our fatherland boasts no rocks, waterfalls, high mountains or romantic valleys. Proud, sublime nature is not to be found in our land’. With that in mind, in the summer of 1834 he moved to the old Ducal capital of Cleves, Germany, where he found his ideal subject matter in the region of the Ahr, Ruhr and Rhine. Soon large oak trees, winding paths and panoramic views filled his paintings with an artful blend of minute detail and atmospheric mood. In Cleves, where he would spend the rest of his life, Koekkoek painted his most important landscapes, ranging from extensive river valleys to idyllic forest views dominated by one or more oaks. He often dramatized his trees as a means to emphasize man’s paltriness in comparison to nature.
By 1841, Koekkoek had earned such regard from his fellow artists that he decided to publish a book of lessons for students, Herinneringen en Mededeelingen van eenen Landschapsschilder ("Recollections and Communications of a Landscape Painter"), in which he aired the view that an artist must, above all, stay true to nature through meticulous observation and rigorous draughtsmanship. This seminal work took the form of a leisurely journey along the Rhine, pointing out to the reader various qualities of nature and landscape. The same year, by popular demand from young artists eager to receive his tuition, Koekkoek founded his own drawing academy (Zeichen Collegium), and in his footsteps, many artists travelled to the former ducal residence seeking instruction from the great master at the academy, among them Frederik Marinus Kruseman,Lodewijk Johannes Kleijn, and Johann Bernard Klombeck. Closely adhering to their master's principles expressed in his writings and in his paintings, these artists collectively gave rise to the school of landscape painting referred to as 'Cleves Romanticism', blending realism with a pervading idealized atmosphere. He advised his students to study nature closely, to observe the qualities of light at dawn and at sunset and the development of storms. He also guided his students in the examination of Dutch seventeenth century masters. The 1840s-50s saw Koekkoek at the very height of his genius. In November 1859 Koekkoek suffered from a major stroke which effectively ended his career as a painter. He died April 5, 1862, in his beloved town of Cleves.
Koekkoek’s own paintings reveal a careful study and synthesis of Dutch seventeenth-century painters. His art is firmly rooted in the great Dutch romantic tradition established by the seventeenth-century masters: Hobbema,Cuyp, Ruisdael and Wynants. The golden light and the inclusion of travellers in his work suggests Koekkoek also admired the Dutch Italianate painters of the seventeenth century, collectively known as theBamboccianti, especially Pieter van Laer and Jan Both.
Koekkoek imagined his pictures as the result of an ideal combination of observation and artifice. He studied art and nature with equal acuity, creating beautiful landscape paintings that celebrated the greatness of Creation. ‘Koekkoek's work impresses the spectator by its power, by the firm and correct construction of the trees, by the broad, natural growth of the leaves and boughs, [and] by the careful and elaborate reproduction of the wooded landscape’ (G. H. Marius, Dutch Painters of the Nineteenth Century, Woodbridge, 1973, p. 89). Up to this day, Koekkoek's work is very much favoured for the lively composition and the mood of nostalgia, in which the Dutch Golden Age seems to linger on. Just as he was during his own lifetime, Koekkoek is widely regarded as the most accomplished landscape painter of Dutch romanticism, against whose scrupulously refined paintings the work his contemporaries is measured.
Koekkoek's financial success allowed him to purchase a plot of land in downtown Kleve in 1842 and build a grand villa initalianate style over the next seven years.[1] After his death in 1862, the house was sold and the majority of its furnishings were auctioned off in Amsterdam. In 1902 the German doctor Hans van Ackeren purchased and expanded the property, added an extension to the house and remodeled its interior in Art Nouveau style. Fortunately the house remained essentially undamaged in WW II; it was subsequently used as city-hall for several years during which time it hosted art annual exhibits by the Kleve Artist's Association.[2] From 1960 it became the municipal museum and in 1997 it was returned to its state as an artist's residence.
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