Julius Jacobus van de Sande Bakhuyzen, born in The Hague on June 18, 1835, and passing away in the same city on October 21, 1925, stands as a significant figure in the rich tapestry of Dutch art history. Primarily celebrated as a landscape painter, his life and work are deeply intertwined with the influential Hague School movement. His canvases often capture the serene beauty and quiet dignity of the Dutch rural environment, leaving behind a legacy that continues to resonate with admirers of naturalistic and atmospheric painting.
Coming from an artistically inclined family, Julius Jacobus was immersed in the world of art from a very young age. His father, Hendrikus van de Sande Bakhuyzen (1795-1860), was himself a highly respected painter and etcher, known particularly for his pastoral landscapes often populated with cattle, mirroring a long tradition in Dutch art. Hendrikus was also a noted art teacher, providing his son with foundational training and undoubtedly shaping his early artistic sensibilities. This familial connection provided Julius not only with technical instruction but also with an inherent appreciation for the Dutch landscape tradition.
Family Heritage and Artistic Beginnings
The van de Sande Bakhuyzen family was one of notable standing in the Netherlands, not just in art but also in science. Julius Jacobus's brother, Hendrikus Gerardus van de Sande Bakhuyzen (1838-1923), pursued a distinguished career in astronomy, eventually becoming the director of the Leiden Observatory and a prominent figure in international scientific circles. This divergence in careers within the same family highlights the intellectual and cultural environment in which Julius Jacobus developed, though his own path remained firmly rooted in the visual arts.
Growing up under the tutelage of his father, Julius received a comprehensive grounding in drawing and painting techniques. The elder Bakhuyzen's style, characterized by its detailed rendering and often romanticized depiction of rural life, provided a solid starting point. However, Julius would eventually develop his own distinct artistic voice, one that aligned more closely with the evolving trends of the mid-to-late 19th century, particularly the move towards greater realism and atmospheric depth associated with the Hague School.
His early works likely reflected his father's influence, but exposure to other artists and the changing artistic climate encouraged him to explore new directions. The emphasis on direct observation of nature, a hallmark of the burgeoning realist movements across Europe, would become central to his practice. He sought to capture the specific light, mood, and textures of the Dutch countryside, moving beyond mere topographical accuracy towards a more evocative portrayal of place.
Development of an Artistic Vision
Julius van de Sande Bakhuyzen's artistic style matured into a sensitive blend of Romanticism and Naturalism. While retaining a certain romantic appreciation for the beauty and tranquility of nature, his work increasingly demonstrated a commitment to realistic depiction based on careful observation. He became particularly adept at rendering the subtle interplay of light and shadow, capturing the unique atmospheric conditions of the Dutch climate – the soft, diffused light, the hazy horizons, and the dramatic cloudscapes.
His technique involved meticulous attention to detail, especially in the rendering of foliage, trees, and the textures of the land. However, this detail was typically subordinated to the overall mood and atmosphere of the scene. He often favoured compositions that emphasized the expansive flatness of the Dutch landscape, punctuated by trees, waterways, or grazing animals. His colour palette tended towards naturalistic tones, often employing earthy greens, browns, and greys, enlivened by the specific quality of light in each scene.
Unlike some of his contemporaries who embraced a looser, more impressionistic brushwork, Bakhuyzen often maintained a relatively fine finish, allowing for clarity in detail while still achieving a strong sense of atmosphere. This careful balance contributed to the quiet, contemplative quality that characterizes much of his work. He sought authenticity, often spending time sketching outdoors to capture the immediate impressions of the landscape before developing larger compositions in his studio.
The Hague School Connection
Julius Jacobus van de Sande Bakhuyzen is rightly considered an important member of the Hague School (Haagse School), a movement of artists active roughly between 1860 and 1900 who lived and worked in or around The Hague. This group reacted against the idealized, often overly polished style of earlier Romantic painters, seeking instead a more truthful and atmospheric representation of the Dutch landscape and the lives of its inhabitants. They were inspired by the French Barbizon School painters like Jean-Baptiste-Camille Corot and Jean-François Millet, who emphasized realism and painting outdoors.
The Hague School artists shared a preference for tonal painting, using subtle variations of colour and value to create mood and atmosphere, often referred to as 'grey school' due to the prevalence of overcast skies and muted palettes reflecting the Dutch weather. Key figures associated with the movement include Jozef Israëls, known for his depictions of peasant and fisherfolk life; Jacob Maris and his brother Willem Maris, famous for their landscapes and animal paintings respectively; Anton Mauve, renowned for his sheep flocks; Hendrik Willem Mesdag, celebrated for his seascapes; and Willem Roelofs, an early pioneer of the movement.
Bakhuyzen fitted comfortably within this milieu. His focus on the local Dutch scenery, his sensitivity to light and atmosphere, and his realistic yet poetic approach aligned perfectly with the core tenets of the Hague School. He shared the group's commitment to depicting the unadorned beauty of their homeland. While perhaps not as radical as some figures in the movement, his consistent quality and dedication to landscape painting made him a respected peer among artists like Paul Gabriël, Johannes Bosboom (known for church interiors but associated with the group), and Gerard Bilders, whose early death belied his influence on the school's tonal direction.
Subject Matter: The Soul of the Netherlands
The primary focus of Bakhuyzen's oeuvre was the Dutch landscape, particularly the rural areas surrounding The Hague and regions like Drenthe, known for its unspoiled natural beauty. He was drawn to quiet, pastoral scenes: meadows dotted with grazing cattle or sheep, tranquil waterways reflecting the sky, dense woodlands with sunlight filtering through the leaves, and the characteristic flat polders stretching towards a distant horizon.
Animals, especially cows, feature prominently in many of his paintings. They are rarely mere accessories but are integrated naturally into the landscape, depicted with anatomical accuracy and a sense of quiet presence. His paintings often convey a sense of peace and timelessness, celebrating the enduring connection between the land and its inhabitants (both human and animal), although human figures are often absent or play a minor role in his compositions.
He frequently painted scenes set in specific locations, such as the woods near The Hague (Haagse Bos) or the heathlands and villages of Drenthe. Works like De Wheem in Zweeloo capture the particular character of a place. His interest extended to depicting different times of day and varying weather conditions, showcasing his skill in capturing the nuances of light, from the bright clarity of a summer afternoon to the soft glow of twilight or the muted light of an overcast day. This dedication to capturing specific moments and locations lends authenticity and intimacy to his work.
Masterworks and Signature Style
Several works stand out as representative of Julius van de Sande Bakhuyzen's style and thematic concerns. Cows at the Water's Edge is a quintessential example, showcasing his skill in depicting cattle realistically within a tranquil, watery landscape. The reflections in the water, the rendering of the animals' hides, and the overall peaceful atmosphere are characteristic of his best work in this genre.
Schafhirten am Fluss. Abendstimmung (Shepherds by the River, Evening Mood), dated 1866, highlights his ability to capture the specific light and mood of twilight. The painting likely employs a warm, subdued palette to convey the fading light, creating a sense of calm and introspection. Similarly, Am Waldrand (At the Edge of the Forest), from 1865, would focus on the interplay of light and shadow within a woodland setting, a theme he revisited often.
Another notable work, Cattle Grazing near the Ruins of Brederode Castle, demonstrates his interest in integrating historical elements within the landscape, although the focus remains firmly on the pastoral scene. The ruins add a touch of romantic sensibility, but the primary subject is the carefully rendered cattle and the surrounding natural environment. These paintings exemplify his consistent approach: well-composed scenes, meticulous attention to natural detail (especially foliage and animals), a sensitive handling of light and atmosphere, and an overall mood of serene naturalism.
Artistic Circle: Influence and Interaction
Bakhuyzen's artistic life was enriched by his interactions with numerous contemporaries. A particularly significant relationship was his friendship with Andries Schelfhout (1787-1870), a leading landscape painter of the earlier Romantic generation. Despite the generational difference, the two artists were close, and Schelfhout's influence, particularly his emphasis on detailed rendering and atmospheric effects in winter landscapes, can be discerned in Bakhuyzen's work.
Sources suggest Schelfhout encouraged Bakhuyzen in certain techniques, possibly related to outdoor sketching or the use of watercolour, which was gaining prominence as a medium for capturing immediate impressions. This interaction highlights the continuity and evolution within Dutch landscape painting, as Bakhuyzen absorbed lessons from the Romantic tradition while forging his path within the Hague School's realist ethos.
Interestingly, the close association and stylistic similarities between Schelfhout and Bakhuyzen occasionally led to market confusion, with some sources noting instances where Bakhuyzen's works might have been misattributed to the older, highly sought-after Schelfhout, or possibly even forged. This speaks to the complexities of the 19th-century art market and the high regard in which both artists were held.
Beyond Schelfhout, Bakhuyzen was connected to the broader circle of Hague School artists. He exhibited alongside them and participated in the artistic life of The Hague, centered around societies like the Pulchri Studio. His colleagues included the aforementioned Maris brothers, Mauve, Weissenbruch, and Roelofs. While direct collaborative works might be rare, the shared environment fostered mutual awareness and undoubtedly some degree of reciprocal influence, common within close-knit artistic movements. His connection with Hubertus van Hove, also known for genre scenes and interiors, further illustrates his integration within the Hague art scene.
A Respected Teacher
Like his father before him, Julius van de Sande Bakhuyzen also played a role as an educator, guiding the next generation of artists. While perhaps not running a large, formal academy, his influence was felt through mentorship and instruction. Several artists who went on to achieve recognition are mentioned as having studied with him or been significantly influenced by him.
Among these are figures associated with the Hague School itself, suggesting his role in perpetuating the movement's style and principles. Willem Roelofs, though often considered a peer and pioneer, is sometimes listed as having connections that could imply a student-teacher dynamic at some stage, or at least significant influence. Jan Hendrik Weissenbruch, another major Hague School luminär known for his luminous watercolours and polder landscapes, also appears in lists of artists connected to Bakhuyzen's tutelage, alongside Hubertus van Hove.
Other students mentioned include Pieter ter Meulen the Younger, Johannes Post, and Jan Weening. Furthermore, Bakhuyzen is credited with recognizing talent and encouraging aspiring artists, such as recommending that Gerard Gratama (later director of the Frans Hals Museum and painter) pursue formal art studies. This teaching aspect underscores his commitment to the craft and his respected position within the Dutch art community. His guidance helped shape the continuation of landscape and genre painting in the Netherlands into the early 20th century.
Recognition and Collection
Throughout his long career, Julius van de Sande Bakhuyzen enjoyed considerable recognition and success. His paintings were regularly exhibited in the Netherlands and abroad, finding favour with both critics and collectors. His adherence to the popular Hague School style, combined with his technical skill and appealing subject matter, ensured a steady demand for his work.
His paintings entered prestigious public collections during his lifetime and posthumously. The Rijksmuseum in Amsterdam holds examples of his work, signifying his national importance. The Amsterdam Museum (formerly Amsterdams Historisch Museum) also lists him among its collection. Provincial museums with strong holdings in 19th-century Dutch art, such as the Drents Museum in Assen (a region he often painted) and the Teylers Museum in Haarlem, also acquired his works.
Beyond institutional collections, his paintings were sought after by private collectors in the Netherlands and internationally. The mention of J.-P. Pescatore, a prominent collector based in Luxembourg, acquiring his work indicates his reach beyond Dutch borders. His paintings continue to appear at auction houses today, demonstrating enduring market interest in his tranquil depictions of the Dutch countryside. This consistent presence in collections and on the market affirms his status as a significant and appreciated artist of his era.
Distinguishing the Brothers
It is worth reiterating the distinction between Julius Jacobus van de Sande Bakhuyzen, the painter, and his brother, Hendrikus Gerardus van de Sande Bakhuyzen, the astronomer. Due to their shared surname and prominence in their respective fields during the same period, confusion can sometimes arise. Julius dedicated his life to capturing the visual world, particularly the landscapes of his native country, contributing to the artistic heritage of the Netherlands.
Hendrikus Gerardus, on the other hand, dedicated his life to observing the cosmos and advancing the science of astronomy. His work involved precise measurements, celestial mechanics, and contributions to international scientific collaborations, such as projects related to geodesy and the determination of astronomical constants. While both brothers achieved eminence, their domains were entirely separate – one focused on the aesthetic interpretation of the terrestrial realm, the other on the scientific understanding of the celestial. Recognizing this distinction is crucial for accurately appreciating the specific contributions of Julius Jacobus to art history.
Later Years and Enduring Legacy
Julius Jacobus van de Sande Bakhuyzen remained active as a painter for much of his long life. He continued to work in The Hague, the city of his birth and the center of the artistic movement he was so closely associated with. He witnessed the evolution of art into the 20th century, seeing the rise of Post-Impressionism and Modernism, though his own style remained largely consistent with the Hague School principles he had mastered.
He passed away in 1925 at the venerable age of 90, leaving behind a substantial body of work. His legacy lies in his sensitive and skilled portrayal of the Dutch landscape. He captured a vision of rural Netherlands that was both realistic and imbued with a quiet poetry. His work provides valuable insight into the appearance and atmosphere of the Dutch countryside in the latter half of the 19th century, rendered with technical proficiency and genuine affection.
As a key member of the Hague School, he contributed significantly to one of the most important movements in Dutch art after the Golden Age. His paintings hang in major museums, are studied by art historians, and continue to be appreciated by the public for their tranquil beauty and masterful execution. He successfully carried forward the Dutch tradition of landscape painting, adapting it to the sensibilities of his time and leaving an indelible mark on the nation's artistic heritage. His influence extended through his own work and through the students he guided.
Conclusion
Julius Jacobus van de Sande Bakhuyzen was more than just a painter of landscapes; he was a visual poet of the Dutch countryside. Born into an artistic family and nurtured within the environment of The Hague School, he developed a distinctive style characterized by naturalistic detail, atmospheric sensitivity, and a profound appreciation for the interplay of light and land. His depictions of pastoral scenes, often featuring cattle or sheep within serene settings, captured the essence of rural Holland in the 19th century. Through his long and productive career, his teaching, and his association with contemporaries like Andries Schelfhout and the Maris brothers, he played an integral role in the vitality of Dutch art during his era. His works remain a testament to his skill and a cherished part of the Netherlands' cultural legacy, offering enduring images of tranquility and natural beauty.
