Bernardus Petrus (Ben) Viegers stands as a notable figure in early 20th-century Dutch art, an artist whose canvases resonate with the vibrant light and everyday scenes of the Netherlands. Though largely self-taught, his work absorbed the revolutionary spirit of French Impressionism, which he skillfully translated into a distinctly Dutch vernacular. His dedication to capturing the fleeting moments of life, from bustling cityscapes to tranquil winter fields, has left behind a prolific and cherished body of work.
Early Life and Artistic Awakening in The Hague
Born on December 17, 1886, in The Hague, a city with a rich artistic heritage, Bernardus Petrus Viegers, affectionately known as Ben, was immersed in a creative environment from a young age. His initial foray into the world of art was unconventional. He did not tread the typical path of formal academic training that many of his contemporaries did. Instead, his earliest artistic education took place in the practical setting of his grandfather's cartwright workshop.
This hands-on environment proved to be an invaluable, if unorthodox, art school. It was here, amidst the scent of wood and the clang of tools, that Viegers learned fundamental skills crucial for a painter. He developed a practical understanding of materials, including the intricate craft of mixing pigments. This foundational knowledge of the physical properties of paint would serve him well throughout his career, allowing him a deep control over his medium. His upbringing in such a workshop also likely instilled in him a strong work ethic and an appreciation for craftsmanship.
While his formal training might be described as rooted in 19th-century traditions, his artistic spirit was drawn to more contemporary currents. The Hague itself was a crucible of artistic activity, home to the renowned Hague School painters who had already established a strong tradition of realistic landscape and genre painting. Artists like Jozef Israëls, Anton Mauve, and Hendrik Willem Mesdag had set a precedent for depicting Dutch life and landscape with sincerity and atmospheric depth. Viegers would build upon this local tradition, but with an eye towards newer European developments.
The Allure of Impressionism
Despite his traditional grounding, Ben Viegers was profoundly influenced by the seismic shifts occurring in the art world, particularly the rise of French Impressionism. The French masters, such as Claude Monet, Camille Pissarro, and Pierre-Auguste Renoir, had revolutionized painting with their emphasis on capturing the transient effects of light and color, their preference for outdoor painting, and their depiction of modern life.
Viegers, though self-taught in the higher echelons of art theory, intuitively grasped the appeal and significance of this new approach. He embraced the Impressionist ethos, allowing it to shape his vision and technique. This meant a departure from the meticulously finished surfaces and somber palettes often associated with academic art, towards a brighter, more vibrant application of paint and a focus on the subjective experience of observing the world.
His work began to reflect the key characteristics of Impressionism: broken brushstrokes that allowed colors to mix optically in the viewer's eye, a keen interest in the play of light and shadow, and a desire to convey the immediacy of a moment. While French Impressionism was his primary inspiration, his interpretation remained rooted in his Dutch surroundings, capturing the unique quality of light and atmosphere of the Netherlands. He joined a generation of Dutch artists, sometimes referred to as Amsterdam Impressionists or part of a broader Dutch Impressionist movement, like George Hendrik Breitner and Isaac Israëls (son of Jozef Israëls), who were similarly adapting these international trends to their national context.
A Dedication to Plein Air Painting
A hallmark of Viegers' artistic practice, and a direct inheritance from Impressionism, was his commitment to plein air painting – the act of painting outdoors, directly from nature. This method allowed him to observe and record the subtle nuances of light, color, and atmosphere that could not be replicated in the controlled environment of a studio. For Viegers, the Dutch landscape was not just a subject, but an experience to be captured in its raw, unmediated state.
He was known for his adventurous spirit in seeking out his subjects. Viegers would often travel extensively by bicycle, his easel and paints accompanying him, to find the perfect scene. He also utilized the train and even the then-modern motorcycle to venture further afield, constantly in search of new vistas and inspiration. This mobility was crucial to his prolific output and the variety of his subjects.
Painting en plein air presented its own set of challenges – changing weather, shifting light, and the practical difficulties of working outdoors. However, for Viegers, these were outweighed by the benefits of direct observation. His canvases often convey a sense of spontaneity and freshness, a testament to his ability to work quickly and decisively to capture the essence of a scene before the moment passed. This dedication to outdoor work connected him to a long lineage of landscape painters, but his approach was infused with the modern sensibility of Impressionism.
A Broad Canvas: Themes and Subjects
Ben Viegers was a remarkably versatile painter, comfortable across a wide spectrum of subjects. His oeuvre demonstrates a deep appreciation for the multifaceted beauty of the Netherlands, from its cultivated gardens to its industrial harbors.
Landscapes formed a significant portion of his work. He painted serene pastoral scenes, capturing the quintessential Dutch countryside with its flat fields, grazing cattle, and wide skies. Winter landscapes were a recurring theme, where he skillfully depicted the stark beauty of snow-covered fields and frozen canals, often imbued with a subtle, cool light. His garden scenes are often lush and vibrant, filled with the colors of blooming flowers.
Cityscapes also feature prominently in his portfolio. He painted views of Dutch towns and cities, capturing the character of their streets, canals, and architecture. Harbor scenes allowed him to explore the interplay of water, boats, and the bustling activity of maritime life. Marine scenes, depicting the Dutch coast and sea, further showcased his ability to capture the effects of light on water.
Beyond the outdoors, Viegers also painted interior scenes, offering glimpses into domestic life, and still lifes, where he could explore form, color, and texture in a controlled setting. This breadth of subject matter underscores his keen observational skills and his ability to find artistic inspiration in diverse aspects of the world around him. His early works, with their accessible and appealing subject matter, found particular favor among American tourists visiting the Netherlands, providing him with an early source of patronage.
Notable Works and Artistic Characteristics
While a comprehensive catalogue raisonné is still a subject of ongoing research, several works and general characteristics define Ben Viegers' artistic output. His painting, A street in Nootdorp, an oil on panel measuring a modest 13 x 19 cm, exemplifies his approach to capturing everyday Dutch life. Such a work would likely feature his characteristic Impressionistic brushwork, focusing on the light and atmosphere of a typical village scene.
Another titled work, Belgian School: Jerusalem Une Rue, dated 1928, suggests that Viegers may have traveled to or depicted scenes from Belgium. The title "Belgian School" might refer to the subject matter or a stylistic affinity he explored during that period. This piece indicates his willingness to explore subjects beyond the immediate confines of his native Netherlands.
His painting Boerenaars met handwerkende vrouw (Farmers with woman doing handiwork) has appeared in auction catalogs, indicating its recognition within the art market. This title suggests a genre scene, aligning with the Hague School's tradition of depicting rural life, but likely rendered with Viegers' Impressionistic touch.
Generally, Viegers' paintings are characterized by a lively application of paint, often with visible brushstrokes that convey energy and immediacy. His palette, while influenced by the bright colors of French Impressionism, often retained a certain Dutch sensitivity to atmospheric conditions. He was adept at capturing the specific quality of light in the Netherlands – whether the bright, clear light of a summer day, the diffused light of an overcast sky, or the cool, crisp light of winter. His compositions are typically well-balanced, drawing the viewer into the scene with a sense of intimacy and directness.
He was known to be a fast painter, a skill honed by his plein air practice where capturing fleeting effects of light was paramount. This ability to work quickly also contributed to his prolific output, with estimates suggesting he produced at least 350 oil paintings during his career.
Viegers and His Contemporaries: A Network of Influence
Ben Viegers did not operate in an artistic vacuum. He was part of a vibrant Dutch art scene and had connections with several contemporary painters. Among the most significant was his close contact with Louis Soonius (1883-1956). Soonius, like Viegers, was influenced by the Hague School's legacy but also embraced Impressionistic tendencies. He was known for his beach scenes, city views, and depictions of everyday life in The Hague. The mutual inspiration between Viegers and Soonius suggests a shared artistic dialogue, possibly exchanging ideas on technique and subject matter.
Louis Soonius himself was part of a circle that included artists like Chris Beekman (1887-1964) and Aris Knikker (1887-1962). Beekman, initially an Impressionist, later moved towards De Stijl. Aris Knikker, along with his father Jan Knikker Sr. (1889-1957) and brother Jan Knikker Jr. (1911-1990), formed a family of painters known for their landscapes and cityscapes, often in an Impressionistic style. Viegers' association with such artists, even if informal, placed him within a network of painters exploring similar artistic paths.
The broader context of Dutch art at the time included figures who had already established Dutch Impressionism, such as George Hendrik Breitner (1857-1923), famous for his dynamic Amsterdam cityscapes and cavalry scenes, and Isaac Israëls (1865-1934), renowned for his lively depictions of city life, portraits, and beach scenes. Willem Witsen (1860-1923) was another important contemporary, known for his more subdued, atmospheric etchings and paintings of Amsterdam.
While Viegers was self-taught, his interactions and shared artistic environment with painters like Soonius and the Knikkers, and his awareness of leading figures like Breitner and Israëls, undoubtedly contributed to his development. He was also in contact with the Koch art gallery in The Hague, which provided him with a contract and a stable income, allowing him to focus on his artistic production. This professional relationship indicates his integration into the commercial art world of his time.
The Nunspeet Period and Later Years
In 1938, Ben Viegers and his wife made a significant move from the bustling art center of The Hague to the quieter, more rural environment of Nunspeet in Gelderland, located in the southern part of the Netherlands. Nunspeet and the surrounding Veluwe region had become something of an artists' colony, attracting painters drawn to its picturesque landscapes, heathlands, and forests. Artists like Arthur Briët had earlier worked in Nunspeet, and the area offered a different kind of inspiration compared to the coastal and urban scenes of The Hague.
This period likely saw Viegers further developing his landscape painting, immersing himself in the natural beauty of the Veluwe. The change of scenery might have influenced his palette and subject matter, offering new motifs and atmospheric conditions to explore. His dedication to plein air painting would have found ample opportunities in this new environment.
However, their time in Nunspeet was not permanent. In 1943, during the tumultuous years of World War II and the German occupation of the Netherlands, Ben Viegers and his wife returned to The Hague. The reasons for this move back during such a difficult period are not extensively documented, but it marked a return to the city of his birth and early artistic development.
Tragically, Ben Viegers' life was cut short. He passed away on October 18, 1947, in The Hague. The circumstances of his death were sudden and unfortunate: he suffered a heart attack while attempting to lift a heavy beam. He was just 60 years old, still actively painting and contributing to the Dutch art scene.
Legacy and Market Presence
Ben Viegers left behind a substantial legacy, both in terms of his artistic output and his contribution to Dutch Impressionism. His estimated 350 oil paintings, and potentially other works, are a testament to his dedication and prolific nature. His works are primarily found in collections in Germany and the United States, with approximately 15% of his known works located in the USA. This international distribution speaks to the appeal his art held, particularly his early popularity with American tourists, and likely later acquisitions by collectors abroad.
His paintings continue to be appreciated and appear in the art market. The mention of works like Boerenaars met handwerkende vrouw in auction catalogs confirms their ongoing circulation and value among collectors of Dutch art. While perhaps not as globally renowned as some of the leading figures of French Impressionism or the most famous Hague School masters, Viegers holds a respected place among Dutch painters of his generation.
Academic and curatorial recognition includes his mention in publications such as "Unsorted Artworks and Painting Materials Collection," which lists him as a Dutch Impressionist whose oil paintings are included, and articles like "Visual Experience | About Green: 'Whispers of the Forest, Dreams of the Fields'," which acknowledge him as a self-taught professional painter whose works found markets in the US and Germany.
His art provides a valuable window into the Dutch landscape and society of the early 20th century, filtered through an Impressionistic sensibility. He successfully bridged the gap between traditional Dutch painting and modern European art movements, creating a body of work that is both historically significant and aesthetically pleasing. His commitment to plein air painting and his ability to capture the nuanced light and atmosphere of his homeland ensure his enduring appeal.
Conclusion: An Enduring Impression
Bernard Ben Viegers was a painter who, through dedication and an innate artistic sensibility, carved out a significant niche in Dutch art history. As a self-taught artist, he absorbed the lessons of French Impressionism and applied them with a distinctively Dutch perspective, capturing the landscapes, cityscapes, and everyday life of the Netherlands with vibrancy and honesty. His prolific output, characterized by lively brushwork and a keen eye for light and atmosphere, reflects a deep love for his subjects and a relentless pursuit of artistic expression.
From his early learning in his grandfather's workshop to his travels across the Dutch countryside by bicycle and motorcycle, Viegers embodied the spirit of an artist deeply engaged with his environment. His connections with contemporaries like Louis Soonius and his place within the broader context of Dutch Impressionism, alongside figures such as Breitner and Isaac Israëls, highlight his relevance to the artistic currents of his time.
Though his life was cut short, Ben Viegers left behind a rich collection of paintings that continue to be admired in collections and at auction. He remains a testament to the power of individual talent and the enduring appeal of Impressionism, skillfully adapted to celebrate the unique charm and character of the Netherlands. His work invites viewers to see the world through his eyes, appreciating the fleeting beauty he so expertly captured on canvas.
