Fredericus Jacobus van Rossum du Chattel stands as a significant figure in late 19th and early 20th-century Dutch landscape painting. Born in Leiden in 1856 and passing away in Yokohama, Japan, in 1917, his artistic career was deeply intertwined with the depiction of the Netherlands' unique waterways and countryside, particularly the picturesque Vecht river region. Though influenced by the renowned Hague School, Van Rossum du Chattel cultivated a distinct and recognizable style, earning him the affectionate and accurate title, "Painter of the Vecht." His works capture the serene beauty and specific atmosphere of the Dutch landscape, securing his place within the rich tradition of Dutch art.
Early Life and Artistic Formation
Fredericus Jacobus van Rossum du Chattel's journey into the world of art began within his own family. His father, Jan Hendrik van Rossum du Chattel, was himself a painter, providing the young Fredericus with his initial instruction in drawing and painting starting around 1876. This early exposure in Leiden laid the foundation for his future artistic endeavours.
Seeking more formal training, Van Rossum du Chattel moved to The Hague. He enrolled in the Teekenschool (Drawing School), an institution dedicated to honing the technical skills of aspiring artists. This period provided him with a structured education in the fundamentals of art, essential for any painter of his time.
A pivotal moment in his development came when he entered the studio of Willem Maris (1844-1910). Willem, along with his brothers Jacob and Matthijs, was a leading figure of the Hague School. Training under such a prominent artist exposed Van Rossum du Chattel directly to the principles and techniques of this influential movement, particularly its emphasis on light, atmosphere, and realistic depictions of the Dutch landscape and rural life. This apprenticeship was crucial in shaping his artistic direction.
The Hague School Context
The Hague School emerged in the Netherlands roughly between 1860 and 1890, representing a move towards realism in Dutch painting. It drew inspiration from the French Barbizon School painters, such as Jean-Baptiste-Camille Corot and Charles-François Daubigny, who advocated painting outdoors (en plein air) to capture the immediate effects of light and atmosphere. The Hague School artists adapted these ideas to the specific conditions of the Dutch landscape.
Key figures of the first generation included Jozef Israëls, known for his depictions of peasant and fishing life; Jacob Maris, celebrated for his expansive cloudy skies and cityscapes; Anton Mauve, famous for his pastoral scenes often featuring sheep; Hendrik Willem Mesdag, renowned for his seascapes, particularly the Panorama Mesdag; and Willem Maris, Fredericus's teacher, who specialized in landscapes with cattle near water, masterfully capturing sunlight on water and animal hides. Johannes Bosboom focused on church interiors, while Paul Gabriël painted luminous polder landscapes.
These artists shared a preference for tonal painting, often using muted colours – greys, browns, and silvery greens – to evoke the mood and atmosphere of the Dutch climate. They sought to portray the simple, everyday reality of the Netherlands, moving away from the idealized or romanticized landscapes of earlier periods. Their work was characterized by loose brushwork and a focus on capturing the transient effects of light.
Van Rossum du Chattel is generally considered part of the second generation or later phase of the Hague School. While clearly influenced by his predecessors and his teacher Willem Maris, he developed his own interpretation. His palette could sometimes be brighter, and his level of detail often finer than that of the first-generation masters, yet he retained the Hague School's core interest in atmospheric realism and the specific character of the Dutch landscape.
The Lure of the Vecht
While Hague School artists painted various locations, Fredericus Jacobus van Rossum du Chattel became exceptionally devoted to one specific area: the Vecht river region in the province of Utrecht. This river, flowing from Utrecht city towards the IJsselmeer (formerly Zuiderzee), was historically significant, lined with 17th and 18th-century country estates built by wealthy Amsterdam merchants. However, Van Rossum du Chattel was less focused on the grand houses and more on the river itself, its banks, the surrounding polders, canals, villages, and the interplay of water, sky, and vegetation.
His dedication to this region earned him the nickname "de Schilder van de Vecht" (the Painter of the Vecht). He explored its diverse moods through different seasons and weather conditions. His paintings often feature tranquil stretches of the river, reflecting the vast Dutch skies, bordered by pollard willows, reeds, and farmhouses. Small boats, windmills, and bridges frequently appear, adding elements of local life and traditional Dutch iconography.
The Vecht offered a microcosm of the Dutch landscape that so fascinated the Hague School painters: water, flat lands, distinctive trees shaped by human intervention, and the ever-present, often dramatic, Dutch sky. Van Rossum du Chattel captured the quiet charm and picturesque qualities of areas around towns like Maarssen and Breukelen. His deep familiarity with the region allowed him to render its specific character with authenticity and sensitivity.
Artistic Style and Technique
Van Rossum du Chattel's style is rooted in the realism of the Hague School but possesses individual characteristics. He shared the movement's commitment to capturing atmosphere and the effects of light, particularly the soft, diffused light often found in the Netherlands. Water was a recurring element, and he excelled at depicting its reflective qualities, whether calm and mirror-like or ruffled by a gentle breeze.
Compared to some of the earlier Hague School masters known for their very broad, tonal approach, Van Rossum du Chattel often employed a more detailed rendering, particularly in the foreground elements like reeds, grasses, and the texture of riverbanks or buildings. His brushwork, while still painterly and not overly tight, could be more descriptive than the suggestive strokes of, for example, Jacob Maris.
His colour palette, while often grounded in the naturalistic greens, browns, and greys typical of the school, could incorporate brighter notes, especially in his depictions of summer scenes or the clear light after rain. He masterfully handled the subtle shifts in colour and tone needed to convey depth and the specific time of day. Winter landscapes, a popular theme in Dutch art, were also part of his repertoire, showcasing his ability to capture the stark beauty of the snow-covered Vecht region.
Compositionally, his works often feature a low horizon line, emphasizing the expansive Dutch sky, a hallmark of Dutch landscape painting since the 17th century masters like Jacob van Ruisdael and Meindert Hobbema. The winding course of the river or a canal often leads the viewer's eye into the scene, creating a sense of depth and tranquility. His works evoke a sense of peace and timelessness, celebrating the enduring beauty of the Dutch countryside.
Notable Works
Identifying specific, universally recognized "masterpieces" for Van Rossum du Chattel can be challenging, as his reputation rests more on the consistent quality and thematic focus of his large body of work centered on the Vecht. However, certain titles and types of scenes are representative of his output.
One documented work is Poldervaart in the Vecht river region, dated circa 1899-1901. This oil painting (80 x 58 cm) likely exemplifies his typical subject matter: a canal or waterway within the polder landscape characteristic of the Vecht area. Such scenes would typically include features like ditches, flat fields, perhaps a distant windmill or farmhouse, under a dominant sky, capturing the essence of the Dutch rural environment he knew so well.
Another title often associated with him is A River Scene With Windmills. This generic title points to a recurring theme in his work. Windmills, essential elements of the Dutch landscape for centuries for water management and industry, were frequently depicted by Van Rossum du Chattel, often situated along the banks of the Vecht or adjacent canals. These paintings connect his work to a long tradition in Dutch art while capturing the specific light and atmosphere of his time.
His oeuvre consists of numerous variations on these themes: quiet river bends, views of villages bordering the water, boats moored along the banks, cattle grazing in nearby fields (showing the influence of his teacher Willem Maris), and atmospheric winter scenes with skaters or snow-laden trees. While some sources note that the exact locations depicted can sometimes be hard to pinpoint despite the realism, the overall impression is one of faithful observation of the Vecht region's character.
Contemporaries and Collaborations
Van Rossum du Chattel worked during a vibrant period in Dutch art. While based in The Hague and associated with its school, he interacted with various contemporaries. Sources mention his collaboration on nature studies with fellow artists like Geo Poggenburg and Syvert Jacobsen. Such collaborations, often involving sketching trips into the countryside, were common among landscape painters seeking to capture authentic details from life. Similar collaborations are noted with artists named Apol and Klinkenberg, suggesting a collegial atmosphere among these painters focused on landscape.
His primary connection remained with the Hague School artists, especially his teacher Willem Maris. He was also contemporary with the second generation, including figures like Théophile de Bock, another landscapist influenced by the Barbizon and Hague Schools.
While his style differed significantly, he was also working at the same time as the Amsterdam Impressionists, such as George Hendrik Breitner and Isaac Israëls. These artists focused more on dynamic city life and employed a bolder, more contrasting style, but their work represents another facet of the artistic innovation occurring in the Netherlands during the late 19th and early 20th centuries. Van Rossum du Chattel's quieter, more traditional focus on the rural landscape provided a contrast to the burgeoning modernism found in Amsterdam. Membership in artists' societies like the Pulchri Studio in The Hague would have facilitated interaction and exhibition opportunities alongside many of these contemporaries.
Market and Reputation
During his lifetime and shortly after, Fredericus Jacobus van Rossum du Chattel enjoyed considerable success. His evocative landscapes of the Vecht resonated with the public's appreciation for traditional Dutch scenery. His works were exhibited regularly in the Netherlands and found buyers both domestically and internationally.
Evidence suggests his paintings were particularly popular in the United States and Great Britain, where Hague School art, in general, was highly regarded and collected during the late 19th and early 20th centuries. This international demand contributed to his reputation and commercial success.
His works continue to appear regularly on the art market today. They are featured in auctions held by international houses like Bonhams and regional European auctioneers such as Heritage Auctions Europe and Studio 2000 Art Gallery. Dutch art dealerships like Kunsthandel Pygmalion and Rococo Kunsthandel also handle his paintings.
While auction prices vary depending on size, quality, subject matter, and condition, his works generally command respectable sums, reflecting his established position within the Dutch landscape tradition. The mention of a specific work like Poldervaart in the Vecht river region being available at "Price on request" from a dealer indicates it is considered a significant piece worthy of negotiation rather than a standard auction estimate. His consistent presence in the market underscores the enduring appeal of his tranquil and skillfully rendered Vecht landscapes.
Collections and Legacy
Works by Fredericus Jacobus van Rossum du Chattel are primarily found in Dutch museum collections and private collections worldwide. While initial information suggesting holdings in top-tier international modern art museums like MoMA or the Pompidou Centre appears inaccurate for this artist, his work is represented in institutions focused on Dutch art of the 19th century.
Key Dutch museums likely to hold his work include the Rijksmuseum in Amsterdam, the Kunstmuseum Den Haag (formerly Gemeentemuseum, with a strong Hague School collection), the Centraal Museum in Utrecht (relevant due to the Vecht's location), and the Dordrechts Museum. Numerous regional Dutch museums may also have examples of his paintings. His popularity during his lifetime means many works also entered private hands in the Netherlands, Europe, and North America, where they remain today.
Van Rossum du Chattel's legacy lies in his dedicated and sensitive portrayal of a specific Dutch region. As the "Painter of the Vecht," he created a comprehensive visual record of this area at the turn of the 20th century, capturing its unique atmosphere and charm. He successfully adapted the principles of the Hague School to his own vision, creating works that are both representative of the movement and distinctly personal.
His decision to spend his final years in Japan, where he died in Yokohama in 1917, remains a somewhat unusual footnote to a career so deeply rooted in the Dutch landscape. Nevertheless, his artistic contribution is firmly situated within the Netherlands. He remains appreciated by collectors and art historians for his technical skill, his ability to capture the subtle nuances of Dutch light and water, and his evocative depictions of the beloved Vecht river.
Conclusion
Fredericus Jacobus van Rossum du Chattel carved a distinct niche for himself within the broader context of the Hague School and Dutch landscape painting. Through dedicated observation and refined technique, he became the foremost interpreter of the Vecht river region. His paintings offer a tranquil and enduring vision of the Dutch countryside, characterized by atmospheric sensitivity and a deep appreciation for the interplay of light, water, and land. Trained by his father and the prominent Willem Maris, he absorbed the lessons of realism while developing a personal style that continues to find appreciation in museums and private collections, securing his legacy as the quintessential "Painter of the Vecht."
