Matthijs Maris (1839-1917) stands as one of the most intriguing and individualistic figures in nineteenth-century Dutch art. Born in The Hague, he, along with his equally gifted brothers Jacob and Willem Maris, formed an artistic dynasty that left an indelible mark on the period. While initially associated with the Hague School, Matthijs embarked on a unique artistic trajectory, moving from the prevalent Realism of his early years towards a deeply personal and enigmatic Symbolism that set him apart from his contemporaries. His life was one of constant artistic exploration, marked by periods of intense creativity, significant travel, and, in his later years, a profound reclusiveness that only added to the mystique surrounding his work.
Early Life and Artistic Formation in The Hague
Born on August 17, 1839, Matthijs Maris was the second of three brothers who would all achieve fame as painters. The artistic environment of The Hague, a city with a rich painting tradition, undoubtedly played a role in shaping the young Maris. His formal artistic education began at the Hague Academy of Art, a common starting point for aspiring artists of his generation. However, records suggest he initially failed the entrance exam, a minor setback that led him to seek private tuition.
He found a mentor in Isaac Cornelis Elin Sterk, a painter of lesser renown but evidently a capable instructor. Under Sterk's guidance, Maris honed his foundational skills. By 1852, he was successfully enrolled at the Academy, where he studied until 1855. A significant step in his early career came in 1856 when he joined the studio of Louis Meijer, one of the most prominent Dutch marine and landscape painters of the time. Meijer's influence, particularly in the depiction of atmosphere and light, can be discerned in some of Maris's earlier, more conventional works. This period provided him with a solid grounding in academic techniques and the prevailing tastes of the Dutch art world.
The artistic milieu of The Hague during Maris's formative years was increasingly dominated by what would become known as the Hague School. This movement, which included artists like Jozef Israëls, Anton Mauve, Hendrik Willem Mesdag, and his own brother Jacob Maris, championed a form of atmospheric Realism. They sought to capture the unique light and landscapes of the Netherlands, often depicting scenes of rural life, fishing communities, and expansive Dutch skies with a muted palette and a focus on mood.
The Hague School and Early Realism
In his early career, Matthijs Maris worked within the stylistic parameters of the Hague School. His paintings from this period often featured subjects typical of the movement: Dutch landscapes, scenes of fishermen, and intimate portrayals of everyday life. These works demonstrated a keen observational skill and a sensitivity to the nuances of light and atmosphere, hallmarks of the Hague School. He shared a studio with his brother Jacob for a time, and their early works sometimes bear a familial resemblance in their commitment to realistic depiction and tonal harmony.
However, even in these early stages, hints of Matthijs's distinctive artistic temperament began to emerge. There was often a greater sense of introspection and a more poetic sensibility in his work compared to the more straightforward Realism of some of his peers. While he mastered the techniques and embraced the subject matter of the Hague School, his artistic spirit yearned for something beyond the purely representational. This yearning would eventually lead him on a path away from the mainstream of Dutch art.
His involvement with the Hague School provided him with a strong technical foundation and an initial platform for his work. Artists like his brother Jacob Maris would remain central figures of this school, perfecting its atmospheric landscapes. Willem Maris, the youngest brother, would become renowned for his depictions of cattle in sun-drenched meadows, also firmly within the Hague School tradition. Matthijs, however, was destined for a different artistic expression.
Travels, Influences, and Broadening Horizons
A crucial period of development for Matthijs Maris involved travel and exposure to different artistic currents. In 1859, a visit to The Hague brought him into contact with the art of the Pre-Raphaelites. Though he later denied any direct influence, he was one of the first Dutch artists to encounter this English movement, known for its detailed realism, vibrant colors, and literary or medieval themes, exemplified by artists like Dante Gabriel Rossetti, John Everett Millais, and William Holman Hunt. The intensity and romanticism of Pre-Raphaelite art may have resonated with his own evolving sensibilities.
Around 1860-1861, Matthijs and Jacob Maris embarked on a significant journey, traveling through Germany, Switzerland, and France. They spent time in Cologne and along the Rhine, absorbing the landscapes and artistic traditions of these regions. This journey was partly funded by a royal subsidy, indicating early recognition of their talent. During this period, Matthijs was particularly drawn to German Romanticism. He had earlier become acquainted with the work of German Romantic painters like Ludwig Richter through a fellow student, the German painter Georg Laves, whom he met at the Hague Academy. Richter's idyllic and somewhat fairy-tale-like illustrations and paintings, with their emphasis on emotion and imagination, struck a chord with Maris.
The brothers also spent time in Oosterbeek, a village in the Netherlands that had become an artists' colony, sometimes referred to as the "Dutch Barbizon." Here, artists gathered to paint en plein air, inspired by the French Barbizon School painters like Jean-Baptiste-Camille Corot, Théodore Rousseau, and Jean-François Millet, who had revolutionized landscape painting by emphasizing direct observation of nature and a more personal, poetic interpretation. This experience in Oosterbeek further encouraged Maris to explore landscape and mood, though his path would diverge significantly from the Barbizon focus on naturalism. These travels and encounters were instrumental in broadening his artistic perspective and fueling his departure from purely Dutch traditions.
The Parisian Sojourn: A Shift Towards Symbolism
In 1869, Matthijs Maris made a decisive move to Paris, where he would live for approximately six years, until 1875. This period proved to be transformative for his art. Paris was the undisputed art capital of the world, a melting pot of new ideas and movements. While Maris was not one to readily join artistic cliques, the vibrant atmosphere and the exposure to diverse artistic expressions undoubtedly accelerated his stylistic evolution.
During his time in Paris, Maris began to move decisively away from the Realism of the Hague School. His work became increasingly introspective, suffused with a dreamlike quality. He started to develop the themes and techniques that would characterize his mature style: ethereal figures of young women and children, often depicted in hazy, undefined settings, rendered with a delicate touch and a muted, subtle palette. The emphasis shifted from objective representation to the evocation of mood, mystery, and inner worlds – key tenets of the burgeoning Symbolist movement.
Symbolism, which gained traction in literature and the visual arts in the latter half of the 19th century, reacted against Naturalism and Realism. Artists like Gustave Moreau, Odilon Redon, and Puvis de Chavannes in France sought to express ideas, emotions, and spiritual truths through suggestive imagery rather than direct depiction. Maris's developing style, with its emphasis on the unseen and the imagined, aligned closely with these ideals. He began to use paint not merely to describe form but to create an almost palpable atmosphere, a veil between the viewer and the depicted world.
In Paris, he also formed connections that were important for his career, including with the animal painter Joseph Crawhall (often referred to as Swan, though this might be a slight confusion with John Macallan Swan, another animal painter of the era with whom Maris had connections later in London) and the influential art dealer E. J. van Wisselingh, who would play a significant role in promoting his work internationally. Despite the Franco-Prussian War (1870-1871) causing hardship, Maris continued to paint, producing works that reflected his deepening engagement with a more poetic and less tangible reality.
The London Period: A Reclusive Visionary and Mature Symbolism
In 1877, Matthijs Maris moved to London, a city that would become his home for the remainder of his life. It was in London that his unique artistic vision fully matured and solidified. He continued to refine his distinctive style, creating works that are instantly recognizable for their ethereal beauty and profound sense of mystery. His subject matter often revolved around portraits of children, young women (often referred to as "brides" or "princesses"), and dreamlike, almost visionary landscapes.
His technique became increasingly unconventional. Maris was known to use dry, crumbly pigments, applying them in multiple thin, transparent layers or glazes. He would often work and rework his canvases over long periods, sometimes years, building up surfaces that seemed to shimmer and dissolve. This meticulous and laborious process resulted in a characteristic soft, hazy, and almost "veiled" effect, where forms emerge subtly from a luminous mist. This technique was perfectly suited to his subject matter, enhancing the dreamlike and otherworldly quality of his paintings. He sought to capture not the external appearance of things, but their inner essence or the feeling they evoked.
Despite achieving a degree of success and recognition in London, particularly among a circle of discerning collectors and fellow artists, Maris became increasingly reclusive. He lived a solitary life, shunning publicity and the social aspects of the art world. This withdrawal may have been partly due to his temperament and partly a consequence of his feeling misunderstood, especially in his native Netherlands, where his departure from the Hague School was not always appreciated. His London studio became a private sanctuary where he could immerse himself in his visionary world. The Scottish collector William Burrell became one of his most important patrons, acquiring a significant number of his works, which now form part of the Burrell Collection in Glasgow.
His later works are often characterized by an extreme subtlety of color and tone, with figures that seem to be on the verge of dematerializing. They are less about narrative and more about evoking a specific mood or a sense of longing and introspection. This highly personal and spiritual approach to art cemented his reputation as a key figure in the Symbolist movement, albeit one who operated largely outside its organized manifestations.
Masterpieces and Their Mystique
Several works stand out in Matthijs Maris's oeuvre, embodying his unique artistic vision.
The Bride (also known as The Young Bride or The Dreamer), painted over several years (c. 1867-1870 and later reworked), is one such iconic piece. It depicts a young woman, her face partially obscured, lost in thought. The delicate rendering, the soft focus, and the enigmatic expression contribute to an atmosphere of reverie and introspection. Maris himself reportedly considered some versions of this theme mere sketches, yet they are highly prized for their poetic intensity.
Veiled Woman (or The Girl with the Goats) is another quintessential Maris painting. The figure of the young woman, often with downcast eyes or an averted gaze, is enveloped in the characteristic Maris "mist." The forms are suggested rather than sharply defined, and the overall effect is one of profound melancholy and ethereal beauty. These figures often seem to inhabit a world apart, a realm of dreams or memories.
His etching The Sower, created around 1880, demonstrates his skill in a different medium while retaining his characteristic mood. Inspired by the famous paintings of the same subject by the French Barbizon artist Jean-François Millet, Maris's version is imbued with a more somber, almost spiritual quality. The solitary figure of the sower against a vast, atmospheric landscape evokes a sense of timeless human endeavor and a connection to the elemental forces of nature.
Maris also experimented with photography. His Souvenir of Amsterdam (c. 1871) utilized stereoscopic photography, indicating an interest in new technologies and their potential for artistic expression, even if his primary output remained painting. This interest in capturing depth and atmosphere through various means underscores his innovative spirit.
His children's portraits are particularly notable. Far from being conventional likenesses, they capture a sense of childhood innocence, vulnerability, and a certain wistful, otherworldly quality. Works like Child with a Lemon or He is Coming showcase his ability to convey deep emotion through subtle means, using light, shadow, and delicate brushwork to create an almost spiritual presence.
Artistic Techniques and Innovations
Matthijs Maris's artistic techniques were as individual as his vision. He was known for his meticulous and often lengthy process of creation. His use of multiple, thin, transparent glazes of paint, built up slowly, allowed him to achieve a unique luminosity and depth in his works. This layering technique contributed to the characteristic "sfumato" or misty effect, where outlines are softened, and figures seem to emerge from or recede into the surrounding atmosphere.
He also experimented with the consistency of his pigments, sometimes using them in a drier, more crumbly state, which he would then manipulate on the canvas. This could involve rubbing, smudging, or even scraping away layers to achieve the desired texture and tonal subtlety. His palette was generally muted, favoring soft grays, greens, browns, and ochres, often punctuated by delicate touches of blues or pinks. This restrained use of color further enhanced the dreamlike and introspective mood of his paintings.
His interest in the interplay of light and shadow was paramount. Light in a Maris painting is rarely direct or harsh; instead, it is diffused, creating a soft glow that seems to emanate from within the canvas itself. This mastery of chiaroscuro contributed significantly to the emotional impact of his work.
While he was not a prolific artist, partly due to his painstaking methods and his tendency to rework canvases, each piece he completed was a testament to his dedication to his unique artistic ideals. He was less concerned with rapid production or commercial appeal than with achieving a perfect expression of his inner vision. His experimental approach extended to drawing, where he might use charcoal and watercolor, sometimes erasing and smudging to create atmospheric effects similar to those in his paintings.
A Network of Influences and Interactions
Throughout his career, Matthijs Maris interacted with and was influenced by a diverse range of artists and artistic currents. His brothers, Jacob and Willem Maris, remained important figures in his life, even as their artistic paths diverged. Jacob, in particular, was a lifelong correspondent and confidant. His early teachers, Isaac Elin Sterk and Louis Meijer, provided him with essential academic training.
The influence of German Romanticism, particularly Ludwig Richter, was significant in steering him towards a more imaginative and less naturalistic approach. The Barbizon School, encountered through artists like Jean-François Millet, reinforced an appreciation for mood and atmosphere in landscape, though Maris translated this into a more mystical vein. While he was circumspect about the Pre-Raphaelites, their romantic intensity and detailed finish may have offered an alternative to the prevailing Dutch Realism he sought to transcend.
In Paris and London, he was aware of the broader Symbolist movement, and though he was not an active participant in its groups, his work shares clear affinities with Symbolist painters like Gustave Moreau, Odilon Redon, and the Belgian Fernand Khnopff, all of whom explored themes of dreams, myth, and the inner psyche.
Maris's work, in turn, garnered admiration from notable artists. Vincent van Gogh, in his letters, expressed admiration for Matthijs Maris's art, recognizing its unique poetic quality. Jan Toorop, a leading Dutch Symbolist painter, also held Maris in high esteem. His patrons, such as William Burrell in Glasgow and various Dutch and English collectors, played a crucial role in supporting his unconventional art. Art dealers like E.J. van Wisselingh and the Goupil Gallery were instrumental in bringing his work to an international audience.
Reception, Reputation, and Legacy
Matthijs Maris's reception was complex and varied throughout his life and posthumously. While he gained international recognition and a dedicated following among connoisseurs and collectors in Paris and particularly London, he remained something of an outsider in his native Netherlands. The Dutch art world, largely dominated by the Hague School's brand of Realism, was often perplexed by his increasingly ethereal and symbolic works. This lack of understanding in his homeland contributed to his sense of isolation and perhaps bitterness in his later years.
Critics and fellow artists abroad, however, often lauded him as a visionary. His work was seen as a profound departure from academic conventions and a deeply personal exploration of the spiritual and the imaginative. He was considered by some to be a pioneer of Symbolism, an artist who forged his own path, unconcerned with prevailing trends.
His reclusiveness in London added to his enigmatic reputation. He became known as the "hermit of Westbourne Square," a mysterious figure dedicated entirely to his art. This persona, combined with the rarity and unique quality of his paintings, made his works highly sought after by a select group of collectors.
After his death in London on August 22, 1917, at the age of 78, his reputation continued to grow, although he has perhaps never achieved the widespread popular fame of some of his Hague School contemporaries like his brother Jacob or Anton Mauve. However, within art historical circles, he is recognized as a significant and highly original figure. His paintings are found in major museum collections, including the Rijksmuseum in Amsterdam, the British Museum in London, and the Burrell Collection in Glasgow.
Some critics have pointed to a perceived decline in his later work, suggesting that his pursuit of an ever-more dematerialized vision led to a certain vagueness. Others see this as the ultimate expression of his artistic aims, a successful attempt to transcend the material world through paint. Regardless of these debates, Matthijs Maris is acknowledged for his uncompromising artistic integrity and his creation of a body of work that is both beautiful and profoundly moving. He remains a testament to the power of individual vision in art.
Conclusion: An Enduring Enigma
Matthijs Maris's artistic journey from the earthy Realism of the Hague School to the ethereal realms of Symbolism is a compelling narrative of artistic independence and profound introspection. He was an artist who listened to his inner voice, pursuing a vision that was often at odds with the prevailing tastes of his time and place. His dedication to capturing the intangible – dreams, moods, and the delicate nuances of the human spirit – resulted in a body of work that continues to fascinate and enchant.
His technical innovations, particularly his mastery of glazes and his ability to create an almost palpable atmosphere of mist and light, were perfectly attuned to his thematic concerns. The figures that populate his canvases, often young women and children, seem to exist in a timeless, otherworldly space, inviting contemplation and evoking a sense of gentle melancholy or serene reverie.
While he may have felt misunderstood during his lifetime, particularly in his homeland, Matthijs Maris's legacy as a significant precursor and practitioner of Symbolism is secure. He stands as a unique figure in Dutch art history, an artist who dared to venture beyond the visible world to explore the richer, more complex landscapes of the imagination. His paintings, with their quiet intensity and mysterious beauty, offer a timeless escape into a world of dreams, making him one of the most poetic and enduringly enigmatic painters of the 19th century.
