Jacobus Ahazuerus Breman, more commonly known as Co Breman, stands as a significant figure in Dutch art at the turn of the 20th century. Born on December 7, 1865, in Zwolle, Netherlands, and passing away on November 18, 1938, in Laren, Breman carved a distinct niche for himself primarily through his adept use of Pointillism and his contribution to the Luminist movement. His work is characterized by a vibrant application of color and a profound sensitivity to the effects of light, often capturing the serene landscapes and everyday life of the Gooi region, where he eventually settled.
Early Life and Artistic Formation
Co Breman's journey into the art world began in his youth. He and his brother, Evert Breman, who would later become a notable architect and urban planner, moved from what was described as their "closed-minded" hometown of Zwolle to the bustling artistic and cultural hub of Amsterdam. This move was pivotal, exposing Co Breman to a more dynamic environment conducive to artistic exploration.
In Amsterdam, Breman pursued formal art education. He studied at the prestigious Rijksakademie van beeldende kunsten (State Academy of Fine Arts). His training would have grounded him in traditional techniques, but the artistic currents of the time, particularly the influence of French Impressionism and Neo-Impressionism, were beginning to permeate the Dutch art scene. He also studied in Brussels under the painter Ernest Blanc-Garin and later in Paris, further broadening his artistic horizons and exposing him directly to the avant-garde movements that would shape his mature style.
The Laren School and the Gooi Region
Around 1897, Breman moved to Gooiland, often referred to as 'het Gooi,' a region southeast of Amsterdam. He initially lived in Blaricum before settling in Laren. This area, with its picturesque heathlands, rustic farmhouses, and tranquil atmosphere, had become an artists' colony, attracting painters since the latter half of the 19th century. Artists like Anton Mauve, a cousin-in-law of Vincent van Gogh and a leading figure of the Hague School, had earlier popularized Laren, drawing others such as Albert Neuhuys and Jozef Israëls.
Breman became an integral part of what is known as the second generation of the Laren School, or sometimes more specifically, Gooische Luminists. Unlike the earlier Hague School artists who often favored more subdued, tonal palettes, Breman and some of his contemporaries were more interested in capturing the brilliant effects of sunlight and employing purer, brighter colors. He was a founding member of the "Club De Tien" (Club of Ten), a group of Laren artists who exhibited together, aiming to promote their modern approaches.
Embracing Pointillism and Luminism
Co Breman is best recognized for his adoption and adaptation of Pointillism, a technique pioneered by French artists Georges Seurat and Paul Signac. This method involves applying small, distinct dots of pure color to the canvas, relying on the viewer's eye to optically blend these dots, creating a more vibrant and luminous effect than traditional color mixing on a palette. Breman was among the first Dutch artists to embrace this technique with conviction.
His Pointillism, however, often merged with or evolved into what is termed Dutch Luminism. While related to the broader European Neo-Impressionist concern with light, Dutch Luminism, as practiced by artists like Jan Toorop, Jan Sluijters in his early phase, and Piet Mondrian during his Luminist period, had its own distinct characteristics. It emphasized the intense experience of light, often using bright, sometimes non-naturalistic colors and visible brushstrokes (or dots) to convey the shimmering, almost spiritual quality of light in the Dutch landscape. Breman’s work perfectly encapsulates this, focusing on the way sunlight filters through trees, reflects off surfaces, or bathes a scene in a warm glow.
Ferdinand Hartig Nibbrig was another key contemporary of Breman in Laren who also worked extensively in a Pointillist style. Together, Breman and Hart Nibbrig are considered among the most important proponents of Divisionism (another term for Pointillism) within the Laren artists' colony. Their commitment to this technique distinguished them from many of their peers who might have experimented with it but did not make it central to their oeuvre.
Artistic Style and Techniques
Breman's style is characterized by a meticulous yet vibrant application of color. He typically used short, distinct brushstrokes or dots, carefully juxtaposing complementary colors to enhance their intensity and create a shimmering effect. His palette was often bright and optimistic, reflecting the sunny disposition of many of his chosen scenes. He wasn't strictly dogmatic in his application of Pointillist theory like Seurat; his dots could vary in size and shape, sometimes becoming more like short dashes or blocks of color, adapting the technique to suit his expressive needs.
His subject matter predominantly consisted of landscapes of the Gooi region, village views, farmsteads, blossoming orchards, and occasionally portraits or interior scenes. He had a particular fondness for capturing the changing seasons, with spring and summer scenes allowing him to fully exploit his luminous palette. The interplay of light and shadow was a constant preoccupation, and his paintings often exude a sense of peace and harmony. Unlike the more socially conscious themes of some earlier Hague School painters or the urban dynamism captured by Amsterdam Impressionists like George Hendrik Breitner or Isaac Israëls, Breman’s work focused on the idyllic and the picturesque, rendered with a modern sensibility for color and light.
Representative Works
One of Co Breman's most celebrated works is "Afternoon, Blaricum" (Middag, Blaricum), painted around 1903. This piece is an excellent example of his Pointillist technique and Luminist sensibility. The painting depicts a sun-drenched lane in Blaricum, with figures walking beneath trees that cast dappled shadows. The canvas is alive with tiny dots of color – blues, greens, yellows, oranges, and violets – that combine to create a vibrant, almost shimmering atmosphere. The light seems to radiate from within the painting, capturing the warmth and tranquility of a summer afternoon. This work is housed in the Singer Laren museum, a key institution for art from the Laren School.
Other works by Breman consistently demonstrate his mastery of light. Paintings like "Bloeiende fruitgaard" (Blossoming Orchard) or "Zonnig laantje" (Sunny Lane) showcase his ability to translate the intense Dutch sunlight into a mosaic of brilliant color. His compositions are generally well-balanced, drawing the viewer into serene, sunlit spaces. He often focused on the effects of light filtering through foliage, creating complex patterns of color on the ground and on figures within the landscape.
Contemporaries and Artistic Milieu
Co Breman operated within a rich and evolving artistic landscape. In addition to the aforementioned Georges Seurat and Paul Signac as the French pioneers of Pointillism, and his Laren contemporary Ferdinand Hartig Nibbrig, several other artists are relevant to understanding Breman's context.
The Belgian artist Théo van Rysselberghe was instrumental in disseminating Pointillist ideas in the Benelux countries and was a significant influence. In the Netherlands, artists like Jan Toorop experimented with Pointillism as part of his broader Symbolist and Art Nouveau explorations. The young Piet Mondrian, before his journey into abstraction, went through a powerful Luminist phase, creating vibrant landscapes that share some affinities with Breman's concern for light, though Mondrian's approach was often more expressive and emotionally charged. Jan Sluijters and Leo Gestel, also key figures in Dutch modernism, similarly explored Luminism and other modern styles.
While Breman's style was distinct, he was aware of the broader trends. The legacy of the Hague School, with artists like Jozef Israëls, Hendrik Willem Mesdag, and Anton Mauve, provided a backdrop of Dutch landscape tradition. The Amsterdam Impressionists, such as George Hendrik Breitner and Isaac Israëls, offered a more urban and dynamic counterpoint. Even the towering figure of Vincent van Gogh, though largely unrecognised during his lifetime, had explored expressive color and broken brushwork in ways that prefigured some Post-Impressionist concerns. Breman's choice to focus on a Pointillist/Luminist interpretation of the rural landscape placed him firmly within a specific strand of Dutch modernism that sought to combine observation with a scientific and intuitive understanding of color and light.
He also maintained connections with artists beyond Laren. He was a member of artists' societies such as "Arti et Amicitiae" in Amsterdam and the "Pulchri Studio" in The Hague, which provided venues for exhibition and exchange with a wider circle of Dutch artists.
Exhibitions and Collections
Co Breman's work was exhibited regularly during his lifetime, both in solo shows and as part of group exhibitions, including those of the "Club De Tien" in Laren and at the major artists' societies. His paintings were appreciated for their technical skill and their pleasing, light-filled aesthetic.
Today, Co Breman's works are held in various public and private collections. The most significant public collection is undoubtedly at the Singer Laren Museum in Laren, which has a strong focus on artists from the Laren School and owns key pieces like "Afternoon, Blaricum." Other Dutch museums with holdings of early 20th-century art may also include his works. His paintings continue to appear at auctions, where they are sought after by collectors of Dutch Impressionist and Post-Impressionist art.
Later Life and Legacy
Co Breman remained active as a painter in Laren for much of his life. He continued to refine his approach to capturing the unique light and atmosphere of the Gooi region. While the avant-garde moved towards Fauvism, Cubism, and abstraction, Breman largely remained committed to his established Luminist and Pointillist-inspired style, which had brought him recognition and success.
He passed away in Laren on November 18, 1938, at the age of 72. His legacy is that of a dedicated and skilled painter who made a significant contribution to Dutch Post-Impressionism. He was a master of rendering light through color, and his works offer a serene and luminous vision of the Dutch landscape. Along with Hart Nibbrig, he is remembered as one of the foremost Pointillists of the Laren School, successfully adapting French Neo-Impressionist principles to a distinctly Dutch context. His paintings continue to be admired for their beauty, tranquility, and technical brilliance, securing his place in the annals of Dutch art history.
Conclusion
Co Breman's artistic journey from Zwolle to the heart of the Laren artists' colony reflects a period of vibrant artistic experimentation in the Netherlands. His embrace of Pointillism and his development of a personal Luminist style allowed him to create works that are both technically accomplished and aesthetically captivating. Through his meticulous application of color and his profound sensitivity to the nuances of light, Breman immortalized the idyllic landscapes of the Gooi region. His paintings, such as the iconic "Afternoon, Blaricum," stand as testaments to his skill and his unique vision, ensuring his enduring reputation as a significant Dutch painter of light. He successfully navigated the currents of modernism, finding a voice that was both contemporary and deeply connected to the visual traditions and specific environment of his homeland.
