Otto Eerelman, a name that resonates with admirers of 19th and early 20th-century animal painting, stands as one of the Netherlands' most distinguished artists in this genre. Born on March 23, 1839, in the city of Groningen, Eerelman carved a unique niche for himself, earning accolades for his remarkably lifelike and empathetic portrayals of horses and dogs. His dedication to capturing the spirit and form of these animals, combined with his technical prowess, led some to affectionately dub him the "Rembrandt of the North" in the realm of animal portraiture, a testament to his skill in rendering texture, light, and character. His life, spanning until his passing in Groningen on October 3, 1926, was largely devoted to the artistic celebration of the animal kingdom, particularly those creatures that shared a close bond with humanity.
Early Artistic Stirrings and Academic Foundations
Eerelman's artistic journey began in his hometown at the Academie Minerva, a respected institution in Groningen. It was here that he received his initial formal training, honing his foundational skills in drawing and painting. During his time at Academie Minerva, he studied under the guidance of Johannes Henderikus Egenberger, a painter and art educator who would have instilled in him the principles of academic art, emphasizing accurate representation and skilled draughtsmanship. This early education laid the groundwork for Eerelman's later meticulous approach to his subjects.
Seeking to further refine his talents, Eerelman ventured beyond Groningen. He enrolled at the prestigious Royal Academy of Fine Arts in Antwerp, Belgium. Antwerp, with its rich artistic heritage, including masters like Peter Paul Rubens, who himself was a remarkable painter of animals within larger compositions, offered a stimulating environment. At the Antwerp Academy, Eerelman had the distinct opportunity to learn from Nicaise de Keyser, a prominent Belgian painter of historical scenes and portraits, and a director of the Academy. De Keyser's influence likely encouraged Eerelman's attention to detail and his ability to create compelling, narrative compositions, even when his subjects were animals.
His pursuit of artistic excellence also led him to seek private instruction from Sir Lawrence Alma-Tadema, a Dutch-born painter who later achieved immense fame in Victorian England for his depictions of classical antiquity. While Alma-Tadema's subject matter differed greatly from Eerelman's eventual specialization, his renowned precision, his mastery of texture, and his polished finish would have been valuable lessons for the aspiring artist. These formative experiences, blending Dutch pragmatism with Belgian romanticism and the refined classicism of Alma-Tadema, equipped Eerelman with a versatile and robust artistic toolkit.
The Emergence of an Animalier Par Excellence
While Eerelman's early oeuvre included Dutch interior scenes and genre paintings, reflecting the broader trends of his academic training, his true passion and eventual claim to fame lay in the depiction of animals. He gradually shifted his focus, becoming a dedicated "animalier," an artist specializing in the realistic portrayal of animals. This was a period when animal painting was gaining significant traction across Europe, with artists like Rosa Bonheur in France and Edwin Landseer in Britain achieving international renown for their powerful and often sentimental depictions of animals.
Eerelman’s approach was characterized by an unwavering commitment to anatomical accuracy, a keen observational skill, and an ability to imbue his subjects with a sense of individuality and dignity. He didn't just paint animals; he seemed to understand them, capturing their unique personalities, their moods, and the subtle nuances of their expressions. His brushwork was typically fine and controlled, allowing him to render the varied textures of fur, hide, and mane with remarkable fidelity. This meticulous realism, combined with a sensitive portrayal of his subjects, set his work apart.
He developed a particular affinity for horses and dogs, two species that have long held a special place in human society, whether as working partners, companions, or symbols of status. His ability to capture the noble bearing of a thoroughbred, the sturdy power of a draft horse, or the loyal gaze of a canine companion resonated deeply with his audience.
The Celebrated Painter of Horses
Horses were a recurring and central theme in Otto Eerelman's work. He painted them in various contexts: as prized possessions of the elite, in dynamic action, or in serene pastoral settings. His equine portraits are notable for their anatomical precision, a skill likely honed through countless hours of study and observation. He understood the musculature, the skeletal structure, and the way a horse moved, which lent an undeniable authenticity to his paintings.
One of his most significant contributions in this area was his series of lithographs titled "Paardenrassen" (Horse Breeds). This collection, featuring 41 depictions of various horse breeds, was accompanied by explanatory text written by E.A.L. Quadekker and produced by Richard Schoenbeck. Such a project underscored Eerelman's systematic and almost scientific interest in equine diversity, alongside his artistic capabilities. These works served not only as art but also as valuable documentation of contemporary breeds, much like the earlier work of George Stubbs in England, who meticulously documented equine anatomy.
Eerelman's horses are rarely just generic representations; they often possess a distinct character. Whether it was a spirited stallion, a gentle mare, or a working horse showing the quiet dignity of its labor, he managed to convey a sense of their individual nature. His skill extended to depicting the tack and harness with equal precision, adding to the overall realism and historical value of his paintings.
The Beloved Depicter of Canines, Especially St. Bernards
Alongside horses, dogs were another of Eerelman's favored subjects. He painted a variety of breeds, but he became particularly renowned for his portrayals of St. Bernard dogs. These large, gentle giants, famed for their rescue work in the Swiss Alps, held a particular appeal for the Victorian and late 19th-century sensibility, symbolizing loyalty, courage, and benevolence. Eerelman captured these qualities magnificently.
His paintings of St. Bernards often highlight their impressive physique, their dense fur (rendered with exquisite textural detail), and their characteristically kind and intelligent expressions. He would depict them in various poses, sometimes as solitary figures exuding a quiet majesty, other times in groups, or even with human companions, emphasizing the bond between humans and these noble creatures. These works were immensely popular and contributed significantly to his reputation. The affection he clearly felt for these animals shines through in these portraits, elevating them beyond mere animal studies to characterful representations.
Royal Patronage: Painter to Queen Wilhelmina
A significant aspect of Otto Eerelman's career was his connection to the Dutch royal family. He received commissions to paint members of the House of Orange-Nassau, and most notably, he became a favored painter of the young Queen Wilhelmina. His portraits of the Queen, particularly those depicting her on horseback, are among his most famous and historically important works.
These paintings, such as "Koningin Wilhelmina te paard" (Queen Wilhelmina on Horseback), served not only as official portraiture but also as images that helped shape the public perception of the young monarch. Eerelman depicted her with a blend of youthful grace and regal composure, often set against landscapes that evoked the Dutch countryside. The inclusion of her prized horses, rendered with Eerelman's customary skill, added a dynamic and personal touch to these royal portraits. His ability to seamlessly integrate the human figure with the animal, giving due prominence and character to both, was a hallmark of these successful commissions. Several of these royal commissions are now held in prestigious collections, including the Rijksmuseum in Amsterdam and the Royal Collections of the Netherlands, underscoring their national significance.
Beyond Portraiture: Narrative and Genre Scenes
While Eerelman is best known for his animal portraits, his oeuvre also included more complex narrative and genre scenes involving animals. A notable example is his painting "De Paardentram" (The Horse-Drawn Tram), which captures a slice of urban life from the period, with the horses playing a central, functional role. Such works demonstrate his ability to situate animals within a broader social or environmental context.
Another fascinating work is "The Wild West Show of Barnum & Bailey in London, 1883." This painting captures the excitement and spectacle of Buffalo Bill Cody's famous show during its European tour. It showcases Eerelman's skill in handling complex compositions with multiple figures, both human and animal, in dynamic action. The painting is a vibrant document of a popular cultural phenomenon of the time and demonstrates his versatility in tackling subjects beyond formal portraiture.
A piece titled "Das Schachspiel" (The Chess Game) also appears in his auction records. While the subject matter might seem a departure, it's possible it was a genre scene where animals were present, or it represented a different facet of his artistic interests. Without viewing the specific painting, it's hard to ascertain its exact nature, but it indicates a breadth to his work. Such genre scenes allowed him to explore storytelling and social observation, often with animals still playing a key, if sometimes supporting, role.
Artistic Style, Technique, and Context
Otto Eerelman's style was rooted in the academic realism prevalent in the latter half of the 19th century. His work is characterized by meticulous attention to detail, a smooth, polished finish, and a commitment to accurate representation. Unlike some of his contemporaries in the Hague School, such as Anton Mauve or Willem Maris, who often adopted a looser, more atmospheric style influenced by French Barbizon painters like Jean-François Millet, Eerelman generally maintained a more precise and detailed rendering.
His technique involved careful preliminary drawing and a layered application of paint to achieve the desired effects of texture, particularly in rendering the coats of animals. The play of light on fur, the sheen of a well-groomed horse, the soft depth in a dog's eyes – these were all captured with remarkable skill. He was a master of animal anatomy, but his skill went beyond mere technical accuracy; he possessed an empathetic understanding of his subjects, allowing him to convey their temperament and spirit.
While he may not have been formally part of an avant-garde movement, Eerelman's work was highly regarded in its time and fulfilled a significant demand for animal painting. His art can be seen as a continuation of a long Dutch tradition of animal depiction, stretching back to Golden Age masters like Paulus Potter, renowned for his lifelike cattle, and Albert Cuyp, whose landscapes often featured animals. Eerelman adapted this tradition to the sensibilities and tastes of his own era. He also worked during a period when photography was becoming more widespread, yet the demand for painted portraits, both human and animal, remained strong, perhaps because a painting could offer an interpretation and an emotional connection that a photograph might not.
Interactions and Contemporaries
As an artist active for several decades and educated in prominent academies, Eerelman would have been aware of, and likely interacted with, many contemporary artists. His teachers, J.H. Egenberger and Nicaise de Keyser, were significant figures. His private study with Lawrence Alma-Tadema connected him to an artist of international stature.
In the Netherlands, he was a contemporary of the Hague School painters, including Jozef Israëls, Jacob Maris, Hendrik Willem Mesdag (famous for his Panorama Mesdag), and Johannes Bosboom. While Eerelman's style differed from the prevailing Hague School aesthetic, he operated within the same artistic ecosystem. His focus on specifically Dutch themes, like the royal family and local animal breeds, placed him firmly within the national artistic tradition.
Internationally, his specialization in animal painting put him in the company of artists like the aforementioned Rosa Bonheur in France, whose "The Horse Fair" is an iconic work of animal art, and Sir Edwin Landseer in Britain, whose paintings of stags and dogs were immensely popular and often carried strong narrative or sentimental messages. Eerelman's work, while perhaps less overtly romantic or dramatic than Landseer's, shared a similar dedication to capturing the essence of the animal subject.
Legacy, Collections, and Auction Presence
Otto Eerelman's legacy is that of a highly skilled and dedicated animal painter who captured a significant aspect of late 19th and early 20th-century Dutch culture and society. His works are valued for their artistic merit, their historical importance (especially the royal portraits), and their affectionate portrayal of animals.
His paintings are held in various public and private collections. As mentioned, the Rijksmuseum in Amsterdam houses important examples, particularly those related to the royal family. The Royal Collections of the Netherlands also preserve significant works. His art continues to appear at auction, indicating a sustained interest among collectors.
For instance, his painting "Das Schachspiel" was sold at Van Ham Kunstauktionen on November 14, 2019, achieving a price within its estimate of €4,000-€6,000. Another work, titled "Horse and Carriage," was noted with an estimate of €15,000-€20,000 for a sale at Parker Fine Art Auctions in November 2024. These auction records demonstrate the ongoing market appreciation for his detailed and engaging artworks. The lithograph series "Paardenrassen" also remains an important part of his legacy, valued by equestrian enthusiasts and art collectors alike.
Conclusion: An Enduring Appeal
Otto Eerelman's contribution to Dutch art lies in his exceptional ability as an animalier. He approached his subjects with a blend of scientific observation and genuine affection, resulting in works that are both technically brilliant and emotionally resonant. His depictions of horses and dogs, particularly his iconic St. Bernards and his regal portraits of Queen Wilhelmina on horseback, have secured his place as a beloved and respected figure in the history of animal painting.
In an era of artistic experimentation and the rise of modernism, Eerelman remained committed to a tradition of realistic representation, but he did so with such skill and sensitivity that his work transcends mere academic exercise. He provided a window into the world of animals as they were valued and perceived in his time, creating a legacy that continues to charm and impress viewers today. His paintings are more than just images; they are character studies of creatures great and small, rendered by a hand that truly understood and admired them.
