Seated Female Nude
from $19.00
The son of Jozef Israëls, one of the most respected painters of the Hague School, and Aleida Schaap, Isaac Israëls displayed precocious artistic talent from an early age.
Between 1880 and 1882 he studied at the Royal Academy of Art, The Hague, where he met George Hendrik Breitner who was to become a lifelong friend. In 1881, when he was 16, he sold a painting, Bugle Practice, even before it was finished to the artist and collector Hendrik Willem Mesdag.
Beginning 1886, Israëls lived in Amsterdam and registered with Breitner at the Royal Academy of Visual Arts to complete his schooling. Both of them, however, quickly abandoned the academy for the more progressive circle of the Tachtigers, an influential group of writers and artists of the time. This was a group that insisted style must reflect content and that emotionally charged subjects can only be represented by an equally intense technique. Influenced by this philosophy, Israëls became a painter of the streets, cafes, and cabarets of Amsterdam.
He often spent his summers with his father in the Dutch seaside resort of Scheveningen near The Hague. Guests included Édouard Manet and Max Liebermann. Interested by the changing light of sun and sea, he painted many colorful seaside scenes.
Towards the end of the century, Israëls was introduced by his childhood friend and portrait painter Thérèse Schwartze to the Amsterdam fashion house Hirsch & Cie at the Leidseplein. Israëls portrayed the whole range of the world of haute couture, from seamstress to wealthy client, gaining access even to the fitting-rooms.
Israëls moved to Paris in 1904, establishing his studio at 10 rue Alfred Stevens, near Montmartre and just yards away from the studio of Henri de Toulouse-Lautrec whom he admired, as he also did Edgar Degas. As in Amsterdam, he painted the Parisian specific motifs: the public parks, cafes, cabarets and bistros, as well as such subjects as fairgrounds and circus acrobats. Likewise he sought out the fashion houses Paquin and Drecol to continue his studies of the world of fashion.
• Paper thickness: 10.3 mil
• Paper weight: 5.57 oz/y² (189 g/m²)
• Giclée printing quality
• Opacity: 94%
• ISO brightness: 104%
Between 1880 and 1882 he studied at the Royal Academy of Art, The Hague, where he met George Hendrik Breitner who was to become a lifelong friend. In 1881, when he was 16, he sold a painting, Bugle Practice, even before it was finished to the artist and collector Hendrik Willem Mesdag.
Beginning 1886, Israëls lived in Amsterdam and registered with Breitner at the Royal Academy of Visual Arts to complete his schooling. Both of them, however, quickly abandoned the academy for the more progressive circle of the Tachtigers, an influential group of writers and artists of the time. This was a group that insisted style must reflect content and that emotionally charged subjects can only be represented by an equally intense technique. Influenced by this philosophy, Israëls became a painter of the streets, cafes, and cabarets of Amsterdam.
He often spent his summers with his father in the Dutch seaside resort of Scheveningen near The Hague. Guests included Édouard Manet and Max Liebermann. Interested by the changing light of sun and sea, he painted many colorful seaside scenes.
Towards the end of the century, Israëls was introduced by his childhood friend and portrait painter Thérèse Schwartze to the Amsterdam fashion house Hirsch & Cie at the Leidseplein. Israëls portrayed the whole range of the world of haute couture, from seamstress to wealthy client, gaining access even to the fitting-rooms.
Israëls moved to Paris in 1904, establishing his studio at 10 rue Alfred Stevens, near Montmartre and just yards away from the studio of Henri de Toulouse-Lautrec whom he admired, as he also did Edgar Degas. As in Amsterdam, he painted the Parisian specific motifs: the public parks, cafes, cabarets and bistros, as well as such subjects as fairgrounds and circus acrobats. Likewise he sought out the fashion houses Paquin and Drecol to continue his studies of the world of fashion.
• Paper thickness: 10.3 mil
• Paper weight: 5.57 oz/y² (189 g/m²)
• Giclée printing quality
• Opacity: 94%
• ISO brightness: 104%
Size:
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The son of Jozef Israëls, one of the most respected painters of the Hague School, and Aleida Schaap, Isaac Israëls displayed precocious artistic talent from an early age.
Between 1880 and 1882 he studied at the Royal Academy of Art, The Hague, where he met George Hendrik Breitner who was to become a lifelong friend. In 1881, when he was 16, he sold a painting, Bugle Practice, even before it was finished to the artist and collector Hendrik Willem Mesdag.
Beginning 1886, Israëls lived in Amsterdam and registered with Breitner at the Royal Academy of Visual Arts to complete his schooling. Both of them, however, quickly abandoned the academy for the more progressive circle of the Tachtigers, an influential group of writers and artists of the time. This was a group that insisted style must reflect content and that emotionally charged subjects can only be represented by an equally intense technique. Influenced by this philosophy, Israëls became a painter of the streets, cafes, and cabarets of Amsterdam.
He often spent his summers with his father in the Dutch seaside resort of Scheveningen near The Hague. Guests included Édouard Manet and Max Liebermann. Interested by the changing light of sun and sea, he painted many colorful seaside scenes.
Towards the end of the century, Israëls was introduced by his childhood friend and portrait painter Thérèse Schwartze to the Amsterdam fashion house Hirsch & Cie at the Leidseplein. Israëls portrayed the whole range of the world of haute couture, from seamstress to wealthy client, gaining access even to the fitting-rooms.
Israëls moved to Paris in 1904, establishing his studio at 10 rue Alfred Stevens, near Montmartre and just yards away from the studio of Henri de Toulouse-Lautrec whom he admired, as he also did Edgar Degas. As in Amsterdam, he painted the Parisian specific motifs: the public parks, cafes, cabarets and bistros, as well as such subjects as fairgrounds and circus acrobats. Likewise he sought out the fashion houses Paquin and Drecol to continue his studies of the world of fashion.
• Paper thickness: 10.3 mil
• Paper weight: 5.57 oz/y² (189 g/m²)
• Giclée printing quality
• Opacity: 94%
• ISO brightness: 104%
Between 1880 and 1882 he studied at the Royal Academy of Art, The Hague, where he met George Hendrik Breitner who was to become a lifelong friend. In 1881, when he was 16, he sold a painting, Bugle Practice, even before it was finished to the artist and collector Hendrik Willem Mesdag.
Beginning 1886, Israëls lived in Amsterdam and registered with Breitner at the Royal Academy of Visual Arts to complete his schooling. Both of them, however, quickly abandoned the academy for the more progressive circle of the Tachtigers, an influential group of writers and artists of the time. This was a group that insisted style must reflect content and that emotionally charged subjects can only be represented by an equally intense technique. Influenced by this philosophy, Israëls became a painter of the streets, cafes, and cabarets of Amsterdam.
He often spent his summers with his father in the Dutch seaside resort of Scheveningen near The Hague. Guests included Édouard Manet and Max Liebermann. Interested by the changing light of sun and sea, he painted many colorful seaside scenes.
Towards the end of the century, Israëls was introduced by his childhood friend and portrait painter Thérèse Schwartze to the Amsterdam fashion house Hirsch & Cie at the Leidseplein. Israëls portrayed the whole range of the world of haute couture, from seamstress to wealthy client, gaining access even to the fitting-rooms.
Israëls moved to Paris in 1904, establishing his studio at 10 rue Alfred Stevens, near Montmartre and just yards away from the studio of Henri de Toulouse-Lautrec whom he admired, as he also did Edgar Degas. As in Amsterdam, he painted the Parisian specific motifs: the public parks, cafes, cabarets and bistros, as well as such subjects as fairgrounds and circus acrobats. Likewise he sought out the fashion houses Paquin and Drecol to continue his studies of the world of fashion.
• Paper thickness: 10.3 mil
• Paper weight: 5.57 oz/y² (189 g/m²)
• Giclée printing quality
• Opacity: 94%
• ISO brightness: 104%
The son of Jozef Israëls, one of the most respected painters of the Hague School, and Aleida Schaap, Isaac Israëls displayed precocious artistic talent from an early age.
Between 1880 and 1882 he studied at the Royal Academy of Art, The Hague, where he met George Hendrik Breitner who was to become a lifelong friend. In 1881, when he was 16, he sold a painting, Bugle Practice, even before it was finished to the artist and collector Hendrik Willem Mesdag.
Beginning 1886, Israëls lived in Amsterdam and registered with Breitner at the Royal Academy of Visual Arts to complete his schooling. Both of them, however, quickly abandoned the academy for the more progressive circle of the Tachtigers, an influential group of writers and artists of the time. This was a group that insisted style must reflect content and that emotionally charged subjects can only be represented by an equally intense technique. Influenced by this philosophy, Israëls became a painter of the streets, cafes, and cabarets of Amsterdam.
He often spent his summers with his father in the Dutch seaside resort of Scheveningen near The Hague. Guests included Édouard Manet and Max Liebermann. Interested by the changing light of sun and sea, he painted many colorful seaside scenes.
Towards the end of the century, Israëls was introduced by his childhood friend and portrait painter Thérèse Schwartze to the Amsterdam fashion house Hirsch & Cie at the Leidseplein. Israëls portrayed the whole range of the world of haute couture, from seamstress to wealthy client, gaining access even to the fitting-rooms.
Israëls moved to Paris in 1904, establishing his studio at 10 rue Alfred Stevens, near Montmartre and just yards away from the studio of Henri de Toulouse-Lautrec whom he admired, as he also did Edgar Degas. As in Amsterdam, he painted the Parisian specific motifs: the public parks, cafes, cabarets and bistros, as well as such subjects as fairgrounds and circus acrobats. Likewise he sought out the fashion houses Paquin and Drecol to continue his studies of the world of fashion.
• Paper thickness: 10.3 mil
• Paper weight: 5.57 oz/y² (189 g/m²)
• Giclée printing quality
• Opacity: 94%
• ISO brightness: 104%
Between 1880 and 1882 he studied at the Royal Academy of Art, The Hague, where he met George Hendrik Breitner who was to become a lifelong friend. In 1881, when he was 16, he sold a painting, Bugle Practice, even before it was finished to the artist and collector Hendrik Willem Mesdag.
Beginning 1886, Israëls lived in Amsterdam and registered with Breitner at the Royal Academy of Visual Arts to complete his schooling. Both of them, however, quickly abandoned the academy for the more progressive circle of the Tachtigers, an influential group of writers and artists of the time. This was a group that insisted style must reflect content and that emotionally charged subjects can only be represented by an equally intense technique. Influenced by this philosophy, Israëls became a painter of the streets, cafes, and cabarets of Amsterdam.
He often spent his summers with his father in the Dutch seaside resort of Scheveningen near The Hague. Guests included Édouard Manet and Max Liebermann. Interested by the changing light of sun and sea, he painted many colorful seaside scenes.
Towards the end of the century, Israëls was introduced by his childhood friend and portrait painter Thérèse Schwartze to the Amsterdam fashion house Hirsch & Cie at the Leidseplein. Israëls portrayed the whole range of the world of haute couture, from seamstress to wealthy client, gaining access even to the fitting-rooms.
Israëls moved to Paris in 1904, establishing his studio at 10 rue Alfred Stevens, near Montmartre and just yards away from the studio of Henri de Toulouse-Lautrec whom he admired, as he also did Edgar Degas. As in Amsterdam, he painted the Parisian specific motifs: the public parks, cafes, cabarets and bistros, as well as such subjects as fairgrounds and circus acrobats. Likewise he sought out the fashion houses Paquin and Drecol to continue his studies of the world of fashion.
• Paper thickness: 10.3 mil
• Paper weight: 5.57 oz/y² (189 g/m²)
• Giclée printing quality
• Opacity: 94%
• ISO brightness: 104%