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Lot Essay
Petrus van Schendel was born in the small village of Terheyden as a son of Gijsbertus van Schendel and Geertruida Brox. After the death of his father, the family moved to the nearby city of Breda.
In 1822 Van Schendel went to the Academy of Fine Arts in Antwerp. A rather logical choice since Antwerp was nearest to Breda. Van Schendel lived with his brother in Breda and Amsterdam until he met his first wife Elizabeth Grasveld. During this time he was already establishing a name for himself as an artist. Vital in the development of his career was The Hague based art dealer, Johannes Immerzeel.
Unfortunately, his wife died in 1850 leaving the artist with no less than thirteen children. After this marriage Van Schendel would marry two more times and have another two children. The financial strain of supporting such a large family often forced van Schendel to offer his paintings to Immerzeel for a fraction of the original price he had envisioned for a particular work. Besides his main livelihood and interest, the celebrated painter had an interest in engineering. He also developed a course about linear perspective for young artists and his theories were published in 1861 in Breda.
The basis of Van Schendels education was history painting. At the academy in Antwerp the main focus was off course influenced by its director, history painter Matthijs van Bree (1773-1938). Van Schendel did not earn fame with this genre. He rose to fame with his so called 'nocturnes' or candle-lit market scenes. He was considered by some to be the inventor of the genre. In fact, the genre already had a long standing tradition. Rembrant's pupil Gerard Dou (1613-1675) made the genre popular in the 17th century and had followers of quality until the late 18th century. One could consider Van Schendel the re-inventor of the genre, as he is the artist most associated with the nocturnes of the 19th century. Other artist active in this genre were Johannes Rosierse (1818-1901) and Petrus Kiers (1807-1875). Both never reached the exalted heights of international recognition that Van Schendel did. One of the first purchases by Queen Victoria for her husband Prince Albert was a market scene by the artist. His international reputation even reached so far that the french knew him as 'Monsieur Chandelle'.
The present lot shows a night market as it existed in the time of the artist. Lighting after sunset or in early morning was provided by oil lamps and candles. He painted a complex but very clear composition with numerous figures and stalls lit by candles, oil-lamps, a street-lantern and a bleak moon. Van Schendel has succeeded in showing the various ways in which the different sorts of light are reflected by the warm smooth and translucent skin of the young woman. An abundance of fresh vegetables and fruit fill the baskets of the market stalls and the wheelbarrow in the foreground. The young vegetable seller dominates the composition drawing the spectator in with her serene pose and soothing gaze. The tranquility of the scene is enhanced by the restful pose of the dog. In the distance the dome designed by Jacob van Campen (1595-1657) in 1648, crowning the Royal Palace on the Dam (former Town Hall), is well lit by the moon. The contours of the Nieuwe Kerk are also visible.
In 1822 Van Schendel went to the Academy of Fine Arts in Antwerp. A rather logical choice since Antwerp was nearest to Breda. Van Schendel lived with his brother in Breda and Amsterdam until he met his first wife Elizabeth Grasveld. During this time he was already establishing a name for himself as an artist. Vital in the development of his career was The Hague based art dealer, Johannes Immerzeel.
Unfortunately, his wife died in 1850 leaving the artist with no less than thirteen children. After this marriage Van Schendel would marry two more times and have another two children. The financial strain of supporting such a large family often forced van Schendel to offer his paintings to Immerzeel for a fraction of the original price he had envisioned for a particular work. Besides his main livelihood and interest, the celebrated painter had an interest in engineering. He also developed a course about linear perspective for young artists and his theories were published in 1861 in Breda.
The basis of Van Schendels education was history painting. At the academy in Antwerp the main focus was off course influenced by its director, history painter Matthijs van Bree (1773-1938). Van Schendel did not earn fame with this genre. He rose to fame with his so called 'nocturnes' or candle-lit market scenes. He was considered by some to be the inventor of the genre. In fact, the genre already had a long standing tradition. Rembrant's pupil Gerard Dou (1613-1675) made the genre popular in the 17th century and had followers of quality until the late 18th century. One could consider Van Schendel the re-inventor of the genre, as he is the artist most associated with the nocturnes of the 19th century. Other artist active in this genre were Johannes Rosierse (1818-1901) and Petrus Kiers (1807-1875). Both never reached the exalted heights of international recognition that Van Schendel did. One of the first purchases by Queen Victoria for her husband Prince Albert was a market scene by the artist. His international reputation even reached so far that the french knew him as 'Monsieur Chandelle'.
The present lot shows a night market as it existed in the time of the artist. Lighting after sunset or in early morning was provided by oil lamps and candles. He painted a complex but very clear composition with numerous figures and stalls lit by candles, oil-lamps, a street-lantern and a bleak moon. Van Schendel has succeeded in showing the various ways in which the different sorts of light are reflected by the warm smooth and translucent skin of the young woman. An abundance of fresh vegetables and fruit fill the baskets of the market stalls and the wheelbarrow in the foreground. The young vegetable seller dominates the composition drawing the spectator in with her serene pose and soothing gaze. The tranquility of the scene is enhanced by the restful pose of the dog. In the distance the dome designed by Jacob van Campen (1595-1657) in 1648, crowning the Royal Palace on the Dam (former Town Hall), is well lit by the moon. The contours of the Nieuwe Kerk are also visible.