Erasmus Bernhard von Dulmen Krumpelman stands as a significant, if sometimes underappreciated, figure in the landscape of 20th-century Dutch art. Born in Germany but intrinsically linked with the artistic developments in the Netherlands, his career spanned a tumultuous period of European history, witnessing shifts in artistic paradigms from the lingering echoes of Impressionism to the bold assertions of Expressionism and beyond. His work, characterized by a sensitive observation of his surroundings, a versatile approach to subject matter, and a willingness to evolve, offers a rich tapestry for art historical exploration. This account seeks to illuminate his life, his artistic journey, the influences that shaped him, his notable works, and his connections within the vibrant artistic communities of his time.
Early Life and Artistic Foundations
Born on August 25, 1897, in Kreuznach, Germany, Erasmus Bernhard von Dulmen Krumpelman's artistic inclinations manifested early. His formative years were spent absorbing the cultural milieu that would later inform his diverse artistic output. For his foundational education, he attended the Barlaeus Gymnasium, a prestigious grammar school in Amsterdam, which would have provided a strong classical and humanistic underpinning. This academic environment was complemented by a more specialized artistic training at the Royal Normal School for Drawing Teachers (Rijksnormaalschool voor Teekenonderwijzers) in Amsterdam. This institution was pivotal in training art educators and artists, emphasizing technical skill and a solid grounding in traditional drawing and painting techniques.
In 1914, a significant year marking the onset of the First World War, Krumpelman successfully passed his primary teacher qualification examination. This achievement indicates not only his artistic talent but also a practical inclination towards pedagogy, a trait that sometimes surfaces in artists who later engage with art societies or mentoring roles. It was during these early years in Amsterdam that the seeds of his artistic identity began to germinate, influenced by the city's vibrant art scene and the legacy of Dutch masters. He was, like many young artists, a keen observer, absorbing the lessons from both his formal training and the broader artistic currents swirling around him.
One of his early professional encounters was with Johan Braakesiek, a renowned political cartoonist and illustrator. This connection, reportedly facilitated by a headmaster at the Barlaeus school, provided Krumpelman with opportunities for illustration work. Such experiences, common for aspiring artists, would have honed his draughtsmanship and ability to convey narrative or character succinctly, skills that are valuable across various artistic genres, including portraiture and genre scenes, which he would later explore.
The Amsterdam Impressionist Milieu and Early Influences
Amsterdam in the early 20th century was a crucible of artistic activity. The legacy of the Hague School, with its atmospheric landscapes, was still potent, but a more urban, dynamic form of Impressionism, often termed Amsterdam Impressionism, had taken firm root. Artists like George Hendrik Breitner and Willem Witsen were central figures in this movement, capturing the bustling life, moody canals, and architectural character of the city with a directness and often a somber palette that reflected the urban experience.
Erasmus Bernhard von Dulmen Krumpelman was profoundly influenced by these masters. He became acquainted with August Allebé, a highly respected painter and professor, and later director, at the Rijksakademie van beeldende kunsten (State Academy of Fine Arts) in Amsterdam. Allebé, though perhaps more traditional in his own output, was an influential teacher and a central figure in the Amsterdam art world, connecting various generations of artists. Through such connections, and by immersing himself in the city's artistic life, Krumpelman absorbed the tenets of Amsterdam Impressionism.
His early works often reflect the style of Breitner and Witsen, characterized by a somewhat subdued color range, a focus on capturing atmospheric effects, and a preference for urban landscapes and city views. Breitner, known for his dynamic street scenes, often featuring working-class figures, and his photographic eye for capturing fleeting moments, would have offered a model for depicting the raw energy of city life. Witsen, with his more melancholic and meticulously rendered etchings and paintings of Amsterdam's quiet corners and bridges, provided a counterpoint, emphasizing mood and structure. Krumpelman's engagement with these influences demonstrates his initial grounding in a realistic, observational approach, albeit filtered through an Impressionistic sensibility that prioritized light and atmosphere.
A Shift Towards Expressionism: The Groningen Connection
While Amsterdam provided his initial artistic grounding, Krumpelman's style was not static. A significant development in his artistic trajectory was his association with the artists of "De Ploeg" (The Plough), an avant-garde artists' collective founded in Groningen in 1918. De Ploeg was a dynamic force in Dutch modernism, advocating for innovation and a departure from what they perceived as the staid conservatism of the established art scene. The group's name itself signified a desire to "break new ground" in the artistic landscape of the northern Netherlands.
Key figures in De Ploeg included Jan Wiegers, Johan Dijkstra, Jan Altink, and the typographer and printmaker Hendrik Nicolaas Werkman. Jan Wiegers, having met Ernst Ludwig Kirchner in Davos, Switzerland, became a crucial conduit for German Expressionist ideas into De Ploeg. The influence of German Expressionist groups like Die Brücke, with their bold colors, distorted forms, and emotionally charged subject matter, was palpable in the work of De Ploeg artists. They embraced a more vibrant palette, expressive brushwork, and a subjective interpretation of reality, often focusing on the landscapes and rural life of the Groningen region.
Krumpelman's interaction with De Ploeg artists and their ethos led to a noticeable shift in his work. While he may not have become a formal member in the strictest sense or adopted the most radical aspects of their style, his paintings began to incorporate more pronounced Expressionist elements. This manifested in brighter colors, a looser application of paint, and a greater emphasis on conveying emotional or sensory experiences rather than purely objective representation. This period marks a broadening of his artistic vocabulary, demonstrating his responsiveness to contemporary artistic currents and his willingness to experiment beyond his Impressionist roots. The influence of artists like Vincent van Gogh, whose expressive use of color and brushwork had a profound impact on subsequent generations, can also be seen as a backdrop to this shift towards a more emotionally resonant style.
Navigating the War Years: Resilience and Adaptation
The Second World War cast a long shadow over Europe, profoundly impacting the lives and careers of artists. For Erasmus Bernhard von Dulmen Krumpelman, this period was one of considerable hardship. The occupation of the Netherlands brought with it economic instability, scarcity of materials, and a chilling effect on the art market. The vibrant cultural exchange that had characterized the pre-war years was severely curtailed.
During these difficult times, artists often had to find ingenious ways to survive. Krumpelman, facing a dearth of art supplies and finding it increasingly challenging to sell his work through conventional channels, resorted to bartering his paintings for essential goods, including food. This stark reality underscores the precarious existence of many artists during the war, where the pursuit of art became intertwined with the fundamental struggle for daily sustenance. Such experiences undoubtedly left an indelible mark, perhaps fostering a deeper appreciation for the simple beauties of life and the resilience of the human spirit, themes that can subtly permeate an artist's work.
Despite the adversities, many artists continued to create, finding solace and a means of expression in their work. The war years, while challenging, did not extinguish Krumpelman's artistic drive. The necessity of adaptation may have even led to experimentation with different media or a focus on subjects that were readily available or personally significant during a time of confinement and uncertainty.
Post-War Travels: New Light and Broadened Horizons
With the end of the Second World War, a new era of possibility opened up. As Europe slowly recovered, travel became feasible again, and for many artists, exploring new landscapes and cultures offered fresh inspiration. Erasmus Bernhard von Dulmen Krumpelman embraced these opportunities, embarking on several significant journeys in the post-war period. He traveled extensively, notably to Portugal, Morocco, and Tunisia.
These travels to Southern Europe and North Africa had a discernible impact on his art. The intense light, vibrant colors, and distinct cultural environments of these regions offered a stark contrast to the more muted tones and familiar scenes of the Netherlands. His palette often became brighter and more luminous, reflecting the sun-drenched landscapes he encountered. His subject matter expanded to include the bustling markets, distinctive architecture, and daily life of the people in these foreign lands.
Works from this period often showcase a heightened sense of color and a continued exploration of light effects, now applied to new and exotic subjects. The experience of different cultures could also have deepened his humanistic perspective, enriching his portraits and genre scenes. These journeys represent a significant phase of renewal and expansion in his artistic practice, demonstrating his enduring curiosity and his ability to absorb and translate new visual stimuli into his unique artistic language. His international exhibitions, including in Paris, Ottawa, San Francisco, Yogyakarta, and Lisbon, further attest to this outward-looking phase of his career.
Dominant Themes and Artistic Techniques
Throughout his long career, Erasmus Bernhard von Dulmen Krumpelman explored a variety of themes, showcasing his versatility. Cityscapes remained a constant, particularly views of Amsterdam with its canals, bridges, and historic buildings. These works often capture the unique atmosphere of the Dutch capital, from its lively thoroughfares to its quieter, more introspective corners. His early grounding in Amsterdam Impressionism provided a solid foundation for these urban depictions.
Beyond the city, the Dutch landscape, especially the rural scenery of Drenthe, became another important subject. Drenthe, a province in the northeastern Netherlands known for its heathlands, forests, and traditional farming communities, offered a different kind of beauty – more rustic and serene. His paintings of Drenthe often reflect a deep connection to the land and its people, sometimes echoing the spirit of De Ploeg's engagement with the northern landscape.
Portraits and genre scenes also feature prominently in his oeuvre. He had a keen eye for capturing character and the nuances of human interaction. His portraits could range from formal commissions to more intimate studies of individuals, including children. Portraits of several children, executed in watercolor and pencil, for example, would likely showcase a sensitivity and delicacy appropriate to the medium and subject. His genre scenes often depicted everyday life, market scenes, or agricultural labor, reflecting an interest in the human condition and the rhythms of daily existence.
Krumpelman was proficient in various media. While oil painting was a primary mode of expression, particularly for his more substantial landscapes and cityscapes, he also worked extensively in watercolor and pencil. Watercolors allowed for a fluidity and transparency well-suited to capturing fleeting effects of light and atmosphere, while pencil drawings would have showcased his underlying draughtsmanship. His choice of medium was often dictated by the subject matter and the desired expressive effect.
Analysis of Representative Works
While a comprehensive catalogue raisonné is beyond this scope, discussing known or typical works can illuminate his style. The painting Thans uitzicht op het brink met het restaurant Berg en Dal (View of the brink with the restaurant Berg en Dal), dated 1917, is an example from his earlier period. Such a work would likely exhibit characteristics of Amsterdam Impressionism, possibly with some emerging individual traits. One might expect a focus on the architectural elements, the play of light on water or buildings, and a sense of the daily life of the area. The palette might be relatively subdued, yet with a careful attention to tonal values to create depth and atmosphere. The composition would likely be well-structured, reflecting his academic training.
His later works, influenced by his travels and his engagement with more Expressionistic tendencies, would show a different character. A painting of a Moroccan market, for instance, would likely feature a much brighter, more vibrant palette, with strong contrasts of light and shadow. The brushwork might be looser and more gestural, conveying the energy and dynamism of the scene. Similarly, landscapes of Drenthe from his mature period might combine observational accuracy with a more expressive use of color and form to evoke the mood and character of the region.
His portraits, whether in oil or watercolor, would aim to capture not just a likeness but also the personality of the sitter. The choice of pose, the handling of light on the face, and the attention to detail in clothing or setting would all contribute to the overall effect. His skill as a draughtsman, honed from his early training and illustration work, would be evident in the underlying structure and definition of form in these pieces.
Artistic Circle and Collaborations
An artist's development is rarely a solitary affair. Erasmus Bernhard von Dulmen Krumpelman was part of a rich network of artistic relationships. His early mentors and influences in Amsterdam, such as August Allebé, George Breitner, and Willem Witsen, were foundational. Allebé, as a teacher at the Rijksakademie, was a nexus for many artists, and his advice to Krumpelman to connect with figures like Piet Mondriaan (in Mondriaan's earlier, figurative period) indicates the breadth of his connections. While Mondriaan would later take a radically different path towards abstraction with De Stijl, his early work shared common ground with other Dutch modernists exploring landscape and figurative themes.
His association with the De Ploeg artists in Groningen brought him into contact with key figures of Dutch Expressionism, including Jan Wiegers, Johan Dijkstra, Jan Altink, and Hendrik Nicolaas Werkman. These artists were not only colleagues but also proponents of a shared artistic vision, even if their individual styles varied. The influence of German Expressionists like Ernst Ludwig Kirchner, transmitted through Wiegers, was a significant factor in De Ploeg's development and, by extension, in Krumpelman's stylistic evolution.
The broader Dutch art scene of the time included many other notable figures. Artists like Isaac Israëls, a contemporary and close associate of Breitner, further defined Amsterdam Impressionism with his lively depictions of city life, beaches, and society figures. While perhaps not a direct collaborator, the work of such prominent artists formed the backdrop against which Krumpelman and his peers operated. The legacy of Vincent van Gogh, though from an earlier generation, loomed large over 20th-century art, and his expressive use of color and emotional intensity resonated deeply with Expressionist movements across Europe, including De Ploeg.
Krumpelman's later role as President of the Amsterdam Artists' Association (Schildersgilde van Amsterdam) indicates his active participation in the organizational and communal aspects of the art world. Such positions involve interaction with a wide range of contemporary artists, fostering dialogue and collaborative efforts like exhibitions. While specific names like Roelof van Wijk and Magda Ziems are mentioned in connection with exhibitions or publications related to his work, these likely represent a later generation or art historians involved in preserving and promoting his legacy. His early work for the political cartoonist Johan Braakesiek also represents a form of professional interaction, common in the art world.
Later Life, Legacy, and Recognition
In his later years, Erasmus Bernhard von Dulmen Krumpelman continued to be an active and respected figure in the Dutch art world. His commitment to art extended beyond his personal creative practice. His presidency of the Schildersgilde van Amsterdam demonstrates a dedication to supporting fellow artists and promoting the visual arts within the city. Such roles are vital for the health and vibrancy of any artistic community.
A significant aspect of his legacy is his connection with the Drents Museum in Assen. He generously donated a substantial number of his works to this museum, ensuring that a significant body of his art would be preserved and accessible to the public in a region that he clearly cherished and frequently depicted. This act of philanthropy is a testament to his commitment to the cultural heritage of Drenthe and the Netherlands more broadly. Museums like the Drents Museum play a crucial role in conserving and interpreting the work of artists like Krumpelman, providing a context for understanding their contributions to regional and national art history.
His works were exhibited not only within the Netherlands but also internationally, as mentioned, in cities like Paris, Ottawa, San Francisco, Yogyakarta, and Lisbon. This international exposure speaks to the appeal of his art beyond national borders and his engagement with a wider artistic discourse. His paintings have also appeared in galleries such as the Van Gogh Gallery in Amsterdam, indicating their continued presence in the art market and their appreciation by collectors and art enthusiasts.
Erasmus Bernhard von Dulmen Krumpelman passed away on June 21, 1987, in Zeegse, a village in Drenthe, the province whose landscapes he so often painted. He lived to the age of nearly 90, a long life that witnessed profound changes in art and society. His legacy endures through his artworks, which are held in museum collections and private hands, offering a window into the artistic currents of his time and the enduring beauty he found in the world around him.
Conclusion: An Enduring Artistic Voice
Erasmus Bernhard von Dulmen Krumpelman was an artist whose career charted a course through some of the most significant artistic movements of the early to mid-20th century. From his early immersion in the atmospheric realism of Amsterdam Impressionism, under the shadow of giants like Breitner and Witsen, he evolved, embracing the more vibrant and emotionally charged language of Expressionism, partly through his connections with the De Ploeg group. His art was a continuous dialogue between observation and interpretation, tradition and innovation.
His diverse subject matter—ranging from the dynamic cityscapes of Amsterdam to the tranquil landscapes of Drenthe, and from insightful portraits to scenes inspired by his international travels—showcases a versatile and curious mind. The challenges of wartime forged resilience, while post-war opportunities broadened his horizons and enriched his palette. Through his teaching qualifications, his leadership in artists' associations, and his generous donations to museums, Krumpelman also demonstrated a commitment to the wider artistic community and the preservation of cultural heritage.
While he may not always command the same level of international fame as some of his more radical contemporaries, Erasmus Bernhard von Dulmen Krumpelman's contribution to Dutch art is undeniable. His body of work provides a valuable and engaging visual record of his time, reflecting both the specificities of Dutch culture and landscape, and the universal human experiences of life, struggle, and the search for beauty. He remains an important figure for those seeking to understand the nuanced development of modern art in the Netherlands, an artist who skillfully navigated the currents of change while remaining true to his own evolving vision.
