Bernard de Gempt, a notable figure in 19th-century Dutch art, carved a unique niche for himself as a painter of animals, particularly dogs, which he often employed in satirical and allegorical compositions. Born on August 25, 1826, in Wychen, a town in the province of Gelderland, Netherlands, and passing away on January 2, 1879, in Amsterdam, de Gempt's relatively short life was marked by a keen observational skill and a penchant for infusing his animal subjects with human-like characteristics to comment on contemporary society and events. His work, while perhaps not as widely known internationally as some of his Dutch contemporaries, offers a fascinating window into the artistic currents and social preoccupations of his time.
Early Life and Artistic Inclinations
The mid-19th century in the Netherlands was a period of transition, both socially and artistically. The grandeur of the Dutch Golden Age was long past, but a new national consciousness was emerging, and with it, a renewed interest in distinctively Dutch themes in art. Romanticism had held sway, with artists like Barend Cornelis Koekkoek (1803-1862) and Andreas Schelfhout (1787-1870) celebrated for their idealized landscapes and meticulous winter scenes, respectively. However, a shift towards Realism was beginning, a movement that would later culminate in the Hague School. It was into this evolving artistic landscape that Bernard de Gempt emerged.
Details about de Gempt's formal artistic training are not extensively documented in the provided summaries, a common situation for artists not in the absolute first rank of fame. However, it is known that he was active in Batenburg, also in Gelderland, before eventually settling and working primarily in Amsterdam. Amsterdam, as the cultural and economic heart of the Netherlands, would have offered him greater opportunities for patronage, exhibition, and engagement with a broader artistic community. It was here that his career truly took shape, and he developed his signature style focusing on animal portraiture, often with a narrative or satirical edge.
The Canine Chronicler of Amsterdam
Amsterdam in the mid-1800s was a bustling city, and de Gempt established himself there as a specialist in animal painting. While many artists depicted animals as part of pastoral landscapes or hunting scenes, de Gempt's approach was often more direct and anthropomorphic. He didn't just paint dogs; he used them as protagonists in miniature dramas that reflected human society. This approach set him apart from many contemporaries who might have focused on the more straightforward depiction of livestock or wild animals.
His choice of dogs as primary subjects was astute. Dogs, then as now, were familiar companions, and their varied breeds and expressive faces offered a rich palette for an artist looking to convey character and emotion. De Gempt's skill lay in capturing not just the physical likeness of the animals but also in imbuing them with personalities that could be readily interpreted by his audience. This often involved placing them in scenarios that mimicked human social interactions, political events, or moral dilemmas.
Masterworks: Satire and Allegory on Canvas
Several key works define Bernard de Gempt's oeuvre and illustrate his distinctive artistic vision. Among the most significant is Het hondenrequest (The Dog's Petition or The Canine Request), painted in 1854. This oil on canvas, measuring 66 x 102 cm and now housed in the Stedelijk Museum Amsterdam, is a prime example of his satirical prowess. The painting reportedly depicts a scene involving some two hundred Dutch nobles petitioning the king, with Margaret of Parma, a historical figure from the 16th century (regent of the Netherlands), anachronistically featured, perhaps to draw parallels or make a contemporary political point through historical allusion. The dogs in the scene are not mere accessories but active participants, their postures and expressions contributing to the overall satirical commentary on the aristocracy and their perceived self-interest or folly. The work cleverly uses the animal kingdom to critique human societal structures and behaviors.
Another pivotal work is De vrede van Parijs (The Peace of Paris), created in 1856. This painting is particularly interesting as it directly references a significant contemporary geopolitical event: the Treaty of Paris, which formally ended the Crimean War (1853-1856). In de Gempt's rendition, dogs are once again the main characters, presumably representing the various national powers involved in the conflict and its resolution. Such a work would have resonated with a public keenly aware of the war and its implications. By using dogs, de Gempt could offer a commentary that was perhaps more palatable or humorous than a direct depiction of human politicians, while still conveying a clear message about the nature of diplomacy and international relations. This work highlights his ability to engage with serious historical themes through his chosen animal medium.
Other notable paintings include Het vliegenhobby or De vliegenhappertje (The Fly Hobby or The Flycatcher), dated 1861. This smaller piece (21.5 x 15 cm), once in the Piet van Eeghen art collection, likely showcases a more intimate, perhaps humorous, observation of animal behavior, true to his specialization. Titles like A Congress of Dogs and The Miser's Death-bed further suggest his narrative and allegorical tendencies, using animal congregations to mirror human assemblies or moral failings. A painting of a St. Bernard dog also features in his known works, a breed renowned for its rescue work and noble demeanor, which would have allowed de Gempt to explore themes of loyalty and heroism.
Artistic Style and Technique
Bernard de Gempt's style was characterized by a competent realism in the depiction of his animal subjects. He paid close attention to anatomical accuracy, the texture of fur, and the individual expressions of the animals. However, his realism was often in service of a larger narrative or satirical purpose. He was not merely an animal portraitist in the vein of someone like Otto Eerelman (1839-1926), who, though slightly later, became famous for his majestic portrayals of horses and dogs, often for the royal family, with a more straightforward, less satirical intent.
De Gempt's compositions were carefully constructed to tell a story or make a point. The humor in his work often derived from the juxtaposition of animal forms with recognizably human situations or emotions. This anthropomorphism was a key element of his appeal. His use of detail was not just for verisimilitude but also to add layers of meaning to his scenes. The choice of breed, the interaction between animals, and the setting all contributed to the overall message. His palette was generally in keeping with the Dutch tradition, often favoring earthy tones and a careful handling of light and shadow to model forms effectively.
The Dutch Art Scene in the Mid-19th Century: Context and Contemporaries
To fully appreciate Bernard de Gempt's contribution, it's essential to place him within the context of the broader Dutch art scene of the mid-19th century. This era saw the lingering influence of Romanticism gradually giving way to Realism. Artists like Willem Roelofs (1822-1897), one of the precursors of the Hague School, were already turning towards more direct observations of nature. The Hague School itself, which truly flourished from around 1860 to 1890, included luminaries such as Jozef Israëls (1824-1911), known for his poignant scenes of peasant and fisherfolk life; Anton Mauve (1838-1888), celebrated for his atmospheric landscapes with sheep and cattle; Jacob Maris (1837-1899), with his evocative Dutch townscapes and beach scenes; his brother Willem Maris (1844-1910), who specialized in sun-drenched meadows with cattle and ducks; and Hendrik Willem Mesdag (1831-1915), the preeminent painter of seascapes.
While de Gempt shared the Realist tendency for careful observation with these artists, his subject matter and satirical intent were quite distinct. The Hague School painters were generally more focused on capturing the mood, light, and atmosphere of the Dutch landscape and rural life, often with a melancholic or contemplative tone. De Gempt's work, with its narrative drive and humorous social commentary, aligned more with a tradition of genre painting that had a long history in Dutch art, albeit updated with his unique animal-centric focus.
Other contemporaries included genre painters like David Bles (1821-1899), who also depicted scenes from everyday life, often with a humorous or anecdotal quality, though typically with human subjects. The connection with Frederik Hendrik Weissenbruch (1824-1903, often cited as Jan Hendrik Weissenbruch), another prominent Hague School figure known for his luminous landscapes and watercolors, is noted in the provided information, suggesting de Gempt was part of this artistic milieu, even if his thematic concerns diverged. The information suggests de Gempt owned a work by Weissenbruch, indicating an appreciation for his contemporaries' art. Other notable figures of the period whose work formed the backdrop to de Gempt's career include Johannes Bosboom (1817-1891), famed for his church interiors, and Paul Gabriël (1828-1903), known for his light-filled polder landscapes. The work of Johannes Warnardus Bilders (1811-1890) also contributed to the landscape traditions of the time.
De Gempt's focus on animals as vehicles for satire might also be loosely compared to the earlier European tradition of fables and animal caricature, seen in the work of artists like Jean-Baptiste Oudry or even the satirical prints of William Hogarth in England, though de Gempt's medium was primarily oil painting.
Exhibitions, Reception, and Later Years
Bernard de Gempt's works were exhibited during his lifetime, including an appearance in an Amsterdam private gallery exhibition in 1875. This indicates that he achieved a degree of recognition and had patrons for his specialized art. The nature of his work – often humorous, relatable, and topical – likely found an appreciative audience. Satire, when skillfully executed, has always been a popular form of social commentary, and de Gempt's animal allegories would have provided an engaging way for viewers to reflect on contemporary issues.
His works found their way into significant collections, including the Rijksmuseum in Amsterdam and the Stedelijk Museum Amsterdam, which attests to their perceived artistic and cultural value. The fact that these institutions hold his paintings ensures his contribution to Dutch art is preserved and accessible for study.
Tragically, Bernard de Gempt's life was cut short. He died on January 2, 1879, at the age of 52. Some sources suggest his death may have been by suicide, a somber end for an artist whose work often displayed such wit and vivacity. If true, it adds a poignant layer to our understanding of the man behind the often-playful canvases.
Legacy and Conclusion
Bernard de Gempt occupies a distinctive place in the history of 19th-century Dutch art. He was not a landscape painter in the vein of the Hague School, nor a traditional portraitist. Instead, he skillfully combined his talent for animal depiction with a sharp satirical wit, using the animal kingdom as a mirror to reflect the follies, structures, and events of human society. His paintings, particularly Het hondenrequest and De vrede van Parijs, stand as testaments to his innovative approach, transforming animal painting into a vehicle for social and political commentary.
While the grand narratives of art history often focus on movements and leading figures, artists like Bernard de Gempt provide crucial insights into the diversity and richness of a particular period's artistic production. His focus on dogs, rendered with both accuracy and expressive character, allowed him to create works that were at once amusing, thought-provoking, and deeply engaged with the concerns of his time. His legacy is that of a keen observer, a skilled painter, and a unique satirist whose canine characters continue to charm and comment from their 19th-century canvases. His contribution underscores the varied ways in which Dutch artists of his era sought to capture and interpret the world around them, ensuring his place, albeit specialized, in the annals of Dutch art. The presence of his work in national collections ensures that his unique voice, expressed through the barks and poses of his painted dogs, will not be entirely forgotten.
