Arnold Marc Gorter was born in the rural farming area south of Almelo, a small town in the eastern part of the Netherlands called Twente. He was the youngest of 11 children. His mother, Geertruida ten Cate Hoedemaker, nevertheless found time to be a painter of flowers, mainly in watercolors. She taught Arnold the love of Nature and Art. His father built their (still existing) house called Friso in 1862. As Arnold decided to become a painter himself, his father urged him to obtain a drawing-master degree first. In 1884, Gorter chose to move to Amsterdam, where a new kind of school was founded that was to produce teachers to train artisans and craftsmen, designers and draughtsmen. This drawing master's normal school was located in the newly built Rijksmuseum (National Museum). After passing the final exams in 1887, Gorter indeed became a teacher at the evening classes of such a new school. In 1889, he entered the painting classes of the State-Academy. The landscape of his native countryside Twente remained his favorite, though the south-east of Amsterdam and particularly the banks of the little Gein-river offered themselves as sites for painting studies too.
In 1896, having ended his career as a school teacher, Gorter seems to have taken more time to spend on his career as a painter. He joined the secession-like artist's society Sint Lucas and became vice-president soon. A little later, he was elected president of this then rapidly growing art-club, in which not only painters but also architects, musicians and actors, as well as art-lovers were united. Here, he met Piet Mondrian among the new members. Great success was gained by the 1900 St Lucas exhibition, for which high-ranked older artists were invited. It attracted more attention from the public and the press than ever before. The much older art society Arti et Amicitiae, of which Gorter in 1889 had become a member, gave young artists fewer facilities to exhibit and had higher entry-terms to match. In 1904, he exchanged his presidency of St Lucas for the vice-presidency of Arti, to become its president many times in later years. Important was Gorter's contact with one of Amsterdam's leading art-galleries, Frans Buffa. In 1898, he had his first solo show here. This art-dealer, representing well-known painters like J.H. Weissenbruch, Is. Israëls and J. Toorop became Gorter's main representative too. Gorter's way of working was to go out in the country and make oil-sketches. The little oil-sketches were rarely exhibited, nor for sale; only sometimes given as a present.
Around 1910, Gorter's name was well known as one of the leading and most popular painters in Holland. But also in France and Germany, where he took part in the enormous yearly exhibitions of the Salon des Artistes Francais in Paris and the Internationale Kunstausstellungen in Berlin and Munich. He was successful there and sold the large canvases made just for these huge events. He received many gold medals and other rewards in Paris and Munich. It is still surprising that in France, where Luminism and Fauvism were invented at the time, Gorter's often almost monochromatic pictures of autumn, winter and night, were so highly regarded. The French State bought one of his paintings and later made him a member of the French Academy, an honor he shared with only a few other foreign painters. Reviews in France likewise were much more favorable than those in Holland. English and American art dealers now became interested too. The first exhibition of his work in America was at the 1904 Universal Exhibition in St.Louis. Through the connections, his dealer Buffa had many American galleries showed his work. Sales of his paintings in USA and Canada outnumbered his Dutch sales in the 1920s. Many reproductions were made in USA also. The 1915 “Panama-Pacific” world-fair in San Francisco was another great event. Gorter was a member of the committee organizing the Dutch art-section. Some American collectors, after having bought one of Gorter's paintings at an exhibition like this one, or those in Paris and Munich, sent a request for one, or even several more paintings. The Frye Art Museum in Seattle still has the eight landscapes its founder collected this way. Appreciation in England was less striking, although in 1914 Gorter was invited to exhibit a large painting in the Royal Academy and later in the Scottish Academy. The well known French Gallery in London regularly showed his work. After the war, a successful exhibition of Dutch art was touring England, organized by individual Dutch artists and collectors. For the first time, it included modernist painters like Mondrian and Gestel and showed a good representation of Dutch art at that time. The tour's greatest success was at the Whitechapel Art Gallery in London in 1921.
The Queen of the Netherlands, Wilhelmina, took up painting around 1919 and wanted to invite a real landscapist as a tutor or as a companion painter. Knowing Gorter from her yearly visits to the Arti-exhibitions and having bought one of his paintings already in 1913, she thought of him. In 1921, Gorter was invited to her countryside palace at Apeldoorn to paint the autumn colors together. The next year an invitation followed to accompany Wilhelmina and members of the court on a two-month cruise along Norway's coast, to go painting there. Since 1916, Gorter had acquired land near the village of Vorden in the east of the Netherlands. A country-house was built there in 1926. He had painted in Vorden regularly from 1904 on. The Vordense Beek, a little stream passing through woodlands and meadows, became a subject for hundreds of paintings.
Autumn Landscape
By Arnold Marc Gorter
Located in Douglas, Isle of Man
Arnold Marc Gorter 1866 - 1933, was a Dutch landscape painter who preferred the calm tranquility of the Eastern Netherlands and the change of the seasons, grading light and ambience ...
Canvas, Oil
An Autumn Landscape
By Arnold Marc Gorter
Located in Sheffield, MA
Arnold Marc Gorter Dutch, 1866-1933 An Autumn Landscape Oil on canvas 26 ¼ by 33 ¾ in, w/ frame 35 ¾ by 43 ¼ in Signed "A.M. Gorter" lower right Inventory Number: 01927 Arnold Mar...
Canvas, Oil
Sheep by the River
By Arnold Marc Gorter
Located in Sheffield, MA
Arnold Marc Gorter Dutch, 1866-1933 Sheep by the River Oil on canvas 26 ¾ by 32 ¾ in, w/ frame 34 ½ by 40 ½ in Signed lower right Arnold Marc Gorter studied at the National Academy...
Oil
British Schooner Anchored at Naples
Located in Costa Mesa, CA
A classic scene of a large mid-Nineteenth Century schooner at rest in the Mediterranean port painted by the Italian countryman Tomaso De Simone. The complete narrative scene around the schooner's broadside is complemented with a British merchant steam/sail ship, local boats and the colorful sky and headland architecture of the ancient city. The vast serenity and unspoiled life of cruising the Mediterranean Ocean...
Canvas, Oil
$828
H 25.2 in W 31.5 in D 2.76 in
Decorative river landscape in romantic style, oil on canvas
Located in DEVENTER, NL
Decorative river landscape in romantic style, Signed lower left 'I Roy', unknown artist, Oil on canvas Dimensions excl. frame: 49 x 65 Dimensions incl. frame: 64 x 80 x 7 cm. In go...
Canvas, Oil
$3,313Sale Price|20% Off
H 16.15 in W 20.48 in
Golden Sunrise on the Maas – Arthur J. Meadows’ Tranquil Masterpiece (1884)
By Arthur Joseph Meadows
Located in Stockholm, SE
A Golden Dawn on the Maas In this refined marine painting, Arthur Joseph Meadows captures a tranquil sunrise on the river Maas just below the historic city of Dordrecht (“Dort”). The...
Canvas, Oil
$804
H 8.47 in W 10.83 in
Barbizon School Landscape, The Poplar Trees, Late 19th Century Oil on Wood Panel
Located in Cotignac, FR
Late 19th Century French Barbizon School oil on wood panel of poplar trees in a landscape by Richard. The painting is signed bottom left. The painting is on a quality chamfered panel. A very charming, almost impressionist, rendition of a line of iconic French trees in a landscape. Before them an earth drive has been ploughed up by the wheels of passing carts and horses. Richard has created a wonderful perspective that draws us in to the painting and he has created a contrast between the strong greens of the trees and fields against the whites and blues of the sky. The painting is reminiscent of the works of Monet from the 1890s. to whom the poplar trees were a continuing inspiration. The Barbizon school of painters was part of an art movement towards Realism in art, which arose in the context of the dominant Romantic Movement of the time. The Barbizon school was active roughly from 1830 through 1870. It takes its name from the village of Barbizon, France, on the edge of the Forest of Fontainebleau, where many of the artists gathered. Most of their works were landscape paintings, but several of them also painted landscapes with farmworkers, and genre scenes of village life. Some of the most prominent features of this school are its tonal qualities, colour, loose brushwork, and softness of form. The leaders of the Barbizon school were: Théodore Rousseau, Charles-François Daubigny, Jules Dupré, Constant Troyon, Charles Jacque, and Narcisse Virgilio Díaz. Jean-François Millet lived in Barbizon from 1849, but his interest in figures with a landscape backdrop sets him rather apart from the others. Jean-Baptiste-Camille Corot was the earliest on the scene, first painting in the forest in 1829, but his work has a poetic and literary quality which sets him somewhat apart. Other artists associated with the school, often pupils of the main group, include: Henri Harpignies, Albert Charpin, François-Louis Français and Émile van Marcke. In 1824 the Salon de Paris exhibited works of John Constable, an English painter. His rural scenes influenced some of the younger artists of the time, moving them to abandon formalism and to draw inspiration directly from nature. Natural scenes became the subjects of their paintings rather than mere backdrops to dramatic events. During the Revolutions of 1848 artists gathered at Barbizon to follow Constable's ideas, making nature the subject of their paintings. The French landscape became a major theme of the Barbizon painters. Millet extended the idea from landscape to figures — peasant figures, scenes of peasant life, and work in the fields. In The Gleaners (1857), for example, Millet portrays three peasant women working at the harvest. Gleaners are poor people who are permitted to gather the remains after the owners of the field complete the main harvest. The owners (portrayed as wealthy) and their laborers are seen in the back of the painting. Millet shifted the focus and the subject matter from the rich and prominent to those at the bottom of the social ladders. To emphasize their anonymity and marginalized position, he hid their faces. The women's bowed bodies represent their everyday hard work. In the spring of 1829, Jean-Baptiste-Camille Corot came to Barbizon to paint in the Forest of Fontainebleau, he had first painted in the forest at Chailly in 1822. He returned to Barbizon in the autumn of 1830 and in the summer of 1831, where he made drawings and oil studies, from which he made a painting intended for the Salon of 1830; "View of the Forest of Fontainebleau'" (now in the National Gallery in Washington) and, for the salon of 1831, another "View of the Forest of Fontainebleau"'. While there he met the members of the Barbizon school: Théodore Rousseau, Paul Huet, Constant Troyon, Jean-François Millet, and the young Charles-François Daubigny. During the late 1860s, the Barbizon painters attracted the attention of a younger generation of French artists studying in Paris. Several of those artists visited Fontainebleau Forest to paint the landscape, including Claude Monet, Pierre-Auguste Renoir, Alfred Sisley and Frédéric Bazille. In the 1870s those artists, among others, developed the art movement called Impressionism and practiced 'plein air' painting. In contrast, the main members of the school made drawings and sketches on the spot, but painted back in their studios. The Post-Impressionist painter Vincent Van Gogh studied and copied several of the Barbizon painters as well, including 21 copies of paintings by Millet. He copied Millet more than any other artist. He also did three paintings in Daubigny's Garden. The Barbizon painters also had a profound impact on landscape painting in the United States. This included the development of the American Barbizon school by William Morris Hunt. Several artists who were also in, or contemporary to, the Hudson River School studied Barbizon paintings for their loose brushwork and emotional impact. A notable example is George Inness, who sought to emulate the works of Rousseau. Paintings from the Barbizon school also influenced landscape painting in California. The artist Percy Gray...
Oil, Wood Panel
$170Sale Price|20% Off
H 6.5 in W 7.29 in
Barbizon School Lakeside Landscape, The Shady Glen. Oil on Board.
Located in Cotignac, FR
An oil on panel idyllic landscape by Boggio. The painting is signed bottom right. An idealised lakeside landscape view of a shady glen in the style of the Barbizon school.
Oil, Board
Grey Day in Town
Located in North Clarendon, VT
Moody Paul Andorff painting of a town, stormy skies and foreboding! Housed in a period European frame circa 1875. Pairs very well with the other Paul Andorff painting that we have l...
Oil
$1,716
H 7.48 in W 11.81 in
Animated Cottage House in Normandy, Landscape Painting, Oil on Canvas
By Hippolyte Camille Delpy
Located in PARIS, FR
Conditions : Excellent overall Conditions.. Unframed. Certificate from Michel Rodrigue Complementary shipping worlwide by DHL, FEDEX. Returning customers : 25% OFF listed price on al...
Oil
$359Sale Price|58% Off
H 13.25 in W 10.75 in D 0.5 in
Romantic French Impressionist River Landscape The Old Bridge 27th September 1914
Located in Cotignac, FR
Early 20th Century, French, oil on canvas of a romantic river scape with an ancient bridge. The work is dedicated, signed and dated bottom left, but we have not been able to decipher...
Canvas, Oil
$769Sale Price|43% Off
H 11.42 in W 7.88 in
Courtship in the Forest French Romantic School XIX century oil on canvas
Located in Sitges, Barcelona
Title: *Courtship in the Forest* Author: French Romantic School Technique: Oil on canvas Support: Canvas mounted on a stretcher Unframed dimensions: 11.4 x 7.9 inches Frame...
Canvas, Oil
$1,313
H 4.89 in W 11.74 in
French School 19th century, Animated dune landscape, oil on panel
Located in Paris, FR
French School mid 19th Century Animated dune landscape, oil on cardboard panel 12.4 x 29.8 cm bears a small inscription "Escoublac" on the lower right, not visible under the actual ...
Oil
Louis Aime Japy Figures in a wooded Landscape
By Louis Aimé Japy
Located in Dallas, TX
Louis Aime Japy (1840 - 1916) Oil on canvas Circa 1875 Signed lower right “Japy 91” Measures: Canvas. 19 x 12.5 Inches Framed: 29 x 23 inches The scene is of a landscape with fig...
Canvas, Oil
Harvest Scene With Farmer and Scythe, 1886
Located in Stockholm, SE
"Harvest Scene With Farmer and Scythe, 1886" is a captivating painting by the Swedish artist Alfred Thörne. Created during his travels through Germany, France, Italy, and Belgium bet...
Canvas, Oil
Autumn Reflections
By Arnold Marc Gorter
Located in Wiscasset, ME
An artist of the Dutch School, Arnold Marc Gorter became known for both his oil paintings and drawings of the landscapes with which he was so familiar. A student of the National Acad...
Canvas, Oil