Petrus van der Velden stands as a significant, if sometimes overlooked, figure in the art histories of both the Netherlands and New Zealand. A painter whose life and career bridged two hemispheres, he brought the moody atmospheric depth of the Dutch Romantic-Realist tradition to the raw, untamed landscapes of the Antipodes. His journey was one of artistic conviction, personal struggle, and an unwavering dedication to capturing the essence of his surroundings, whether the polders and fishing villages of his homeland or the dramatic gorges of his adopted country. This exploration delves into his life, his artistic evolution, his key works, his relationships with contemporaries, and his enduring legacy.
Early Life and Artistic Awakening in Rotterdam
Born on May 5, 1837, in Rotterdam, Netherlands, Petrus van der Velden entered a world where artistic traditions were rich and deeply ingrained. His father was a warehouse manager, and his mother was Jacoba Van Essel. From an early age, the young Petrus displayed a keen interest in the visual arts. By the tender age of thirteen, he had already begun to formally learn the rudiments of drawing and painting, an early indication of the passion that would define his life.
The mid-19th century Netherlands was a fertile ground for artistic development. While the Golden Age of Dutch painting, with masters like Rembrandt van Rijn and Johannes Vermeer, was long past, a new wave of realism was beginning to take hold, reacting against the prevailing academic classicism. Van der Velden's formative years were spent absorbing these burgeoning influences.
Before dedicating himself entirely to painting, Van der Velden explored a related commercial art form. In 1858, at the age of twenty-one, he partnered with J.Z.G. Jansen to establish a lithographic printing company in Rotterdam. This venture, named Zijderveld & Jansen, provided him with practical experience in composition, tone, and the reproductive arts. Lithography, a popular medium for illustration and commercial printing, would have honed his skills in draughtsmanship and understanding of light and shade, crucial elements in his later painterly work. The firm operated for nearly a decade, but by 1867, Van der Velden felt the irresistible pull of fine art. He dissolved the partnership and made the pivotal decision to pursue painting full-time, a commitment that would shape the rest of his existence.
Immersion in The Hague School and Dutch Realism
Following his decision to become a full-time painter, Van der Velden gravitated towards the artistic currents that were defining Dutch art in the latter half of the 19th century. He became associated with The Hague School (Haagse School), a movement of painters who worked in and around The Hague from roughly 1860 to 1890. These artists were inspired by the French Barbizon School painters like Jean-Baptiste-Camille Corot and Jean-François Millet, who emphasized direct observation of nature and everyday life.
The Hague School artists, including prominent figures such as Jozef Israëls, Anton Mauve, Jacob Maris, Willem Maris, and Hendrik Willem Mesdag, turned away from idealized historical or mythological scenes. Instead, they focused on capturing the unique atmosphere of the Dutch landscape – its flat polders, grey skies, canals, fishing villages, and the lives of its rural inhabitants and fisherfolk. Their palettes were often subdued, characterized by greys, browns, and muted greens, earning them the moniker "The Grey School." They sought to convey mood and emotion through subtle tonal variations and a realistic, yet often poetic, depiction of their subjects.
Van der Velden deeply absorbed these principles. His work from this period reflects a strong affinity with the tenets of The Hague School. He was particularly influenced by Jozef Israëls, whose poignant depictions of peasant and fishing communities resonated with Van der Velden's own empathetic approach to his subjects. Like Israëls, Van der Velden was drawn to themes of human labor, hardship, and the quiet dignity of ordinary people facing the elements. His style was characterized by a robust realism, a sensitivity to light and atmosphere, and an ability to imbue his scenes with a palpable sense of place and emotion. He excelled in portraying the interplay of light on water, the textures of weathered wood, and the expressive faces of his subjects.
Masterworks of the Dutch Period
During his time in the Netherlands, Van der Velden produced several significant works that established his reputation. One of his most celebrated paintings from this era is The Dutch Funeral (also known as Marken Funeral or Begrafenis op Marken), completed around 1872. This large and somber canvas depicts a funeral procession on the island of Marken in the Zuiderzee. The scene is stark and emotionally charged: a group of grieving fisherfolk, clad in traditional dark attire, make their way through a bleak, wintry landscape under an overcast sky. The painting is a powerful meditation on loss, community, and the harsh realities of life in a traditional fishing village. Its realism is unflinching, yet it possesses a profound humanism that is characteristic of Van der Velden's best work. The painting was highly acclaimed and is now a prized possession of the Christchurch Art Gallery Te Puna o Waiwhetū in New Zealand.
Another notable work is The Old Cellist (De oude cellist), painted around 1887. This piece showcases his skill in portraiture and genre scenes, capturing the character and quiet dedication of the musician. The painting demonstrates his mastery of chiaroscuro, with the figure emerging from a dimly lit interior, the warm tones of the cello contrasting with the surrounding shadows. Such works highlight his ability to convey not just physical likeness but also the inner life of his subjects. His Dutch oeuvre also included numerous seascapes and coastal scenes, reflecting his lifelong fascination with the ocean and the lives of those who depended on it. These works often captured the dramatic power of the sea and the resilience of the fishing communities.
His paintings from the Marken series, to which The Dutch Funeral belongs, are particularly significant. Marken, with its distinct culture and traditions, provided a rich source of inspiration for many artists of the period. Van der Velden's interpretations stand out for their emotional depth and their unvarnished portrayal of the islanders' lives. He was not merely an observer but an empathetic chronicler of their world.
The Journey to New Zealand: A New Horizon
In 1890, at the age of 53, Petrus van der Velden made a life-altering decision: he emigrated with his family to New Zealand. The reasons for this move are multifaceted. Economic conditions in the Netherlands, coupled with a desire for new artistic challenges and perhaps a romantic notion of the "New World," likely played a role. He arrived in Christchurch, a city that was then the cultural heart of the Canterbury region.
His arrival was met with considerable interest in the local art community. An established European painter of his caliber was a rarity in colonial New Zealand, and his presence was seen as a potential catalyst for artistic development. He brought with him not only his technical skills and experience but also the artistic philosophies of The Hague School, which were quite different from the more detailed, topographical style that often characterized New Zealand landscape painting of the time, influenced by earlier British traditions.
Van der Velden quickly set about exploring his new environment. The dramatic landscapes of New Zealand, so different from the flat terrain of Holland, offered a wealth of new subjects. He was particularly drawn to the rugged grandeur of the Southern Alps and the wild coastal scenery. His European training, with its emphasis on capturing mood and atmosphere, provided him with a unique lens through which to interpret these landscapes.
Capturing the Spirit of Otira Gorge
One of the most significant phases of Van der Velden's New Zealand career centered on his depictions of the Otira Gorge, a dramatic and often inhospitable mountain pass on the route between Canterbury and the West Coast of the South Island. He made several trips to the gorge, often enduring harsh weather conditions to capture its sublime and untamed beauty.
His Otira Gorge paintings, such as A Waterfall in the Otira (Mount Rolleston, Otira Gorge) (circa 1891), are among his most iconic New Zealand works. These paintings are characterized by their dark, brooding palettes, their dramatic use of light and shadow, and their powerful evocation of the raw, elemental forces of nature. He was not interested in a mere picturesque representation; rather, he sought to convey the spiritual and emotional impact of the landscape. The swirling mists, cascading waterfalls, and towering, rain-lashed cliffs in his Otira paintings speak of nature's immense power and humanity's smallness in its presence.
His working methods in Otira became legendary. It was said that he preferred to paint during storms and bad weather, believing that these conditions revealed the true character of the gorge. When the sun shone, he would often rest or sleep, waiting for the clouds and rain to return. This dedication to capturing the most dramatic and atmospheric aspects of the landscape set him apart from many of his New Zealand contemporaries. His Otira works were a revelation to the local art scene, introducing a new level of emotional intensity and painterly expression to New Zealand landscape art. They challenged prevailing tastes and expanded the possibilities for how the local environment could be depicted.
Artistic Philosophy, Teaching, and Cultural Encounters
Van der Velden's artistic philosophy was rooted in the idea that art should express profound emotion and truth, rather than simply imitating surface appearances. He believed in the importance of direct experience and intense observation. This conviction sometimes brought him into conflict with the more conservative tastes of colonial Christchurch society. He was known for his strong personality and his outspoken views on art, which could be perceived as critical or even abrasive by some.
He found the cultural climate of New Zealand somewhat limiting compared to the established art world of Europe. He reportedly criticized what he saw as the provincialism and lack of deep cultural engagement in colonial society. Despite these frustrations, he played a crucial role as a teacher and mentor to a number of younger New Zealand artists. Although he did not hold a formal position at the Canterbury College School of Art for long, he taught privately, and his studio became a hub for aspiring painters.
Among his notable students were Sydney Lough Thompson, who would go on to become a significant New Zealand expatriate painter in France, and Robert Proctor. He also influenced artists like Raymond McIntyre and Archibald Frank Nicoll. Van der Velden's teaching emphasized strong draughtsmanship, a deep understanding of tonal values, and the importance of conveying emotion. His methods could be demanding, but his impact on his students was profound, helping to steer New Zealand art towards a more expressive and modern direction. He encouraged them to look beyond mere representation and to imbue their work with personal feeling.
A Sojourn in Sydney and Later Years in Wellington
Despite his artistic impact, Van der Velden faced financial difficulties in New Zealand. The market for his large, somber paintings was limited, and he struggled to support his family. In 1898, seeking better prospects, he moved to Sydney, Australia. He exhibited his work there and continued to paint, but his time in Sydney was relatively brief and did not bring the financial stability he had hoped for.
Around 1904 or 1905, he returned to New Zealand, this time settling in Wellington. He continued to paint and exhibit, and his work from this later period includes powerful seascapes and further explorations of the New Zealand landscape. However, his health began to decline, and he never achieved widespread financial success.
Throughout his career, Van der Velden maintained a connection, however distant, with artistic developments in Europe. He was a contemporary of Vincent van Gogh, and there is evidence that they knew each other, possibly during Van der Velden's time in The Hague or Nuenen, where Van Gogh also spent time and was influenced by artists like Anton Mauve. While their artistic paths diverged significantly – Van Gogh moving towards Post-Impressionism and Van der Velden remaining more rooted in Realism – they shared a Dutch artistic heritage and a profound intensity in their approach to art.
Another important personal and intellectual relationship in New Zealand was with Alexander William Bickerton, a controversial professor of chemistry at Canterbury College. Bickerton was a freethinker and a charismatic figure, and he and Van der Velden found common ground in their shared intellectual curiosity and perhaps their status as relative outsiders in colonial society. Van der Velden painted a striking portrait of Bickerton.
Personal Life and Enduring Spirit
Petrus van der Velden's personal life saw its share of changes and challenges. His first wife, Sophia Wilhelmina Eckhart, with whom he had a son (Willem) and two daughters (Riek and Hendrika), passed away in 1870. He later married Henrietta Susanna van der Sande, who accompanied him to New Zealand. After Henrietta's death in New Zealand, he married Australia Wahlberg in Sydney, with whom he had a daughter named Melba. These personal transitions occurred against the backdrop of his artistic struggles and his efforts to adapt to new environments.
Despite the hardships, his dedication to his art remained unwavering. He was a man of strong convictions, driven by an inner vision. His commitment to capturing the emotional truth of his subjects, whether human or landscape, was the defining characteristic of his artistic life.
Petrus van der Velden passed away in Auckland, New Zealand, on November 11, 1913 (some sources may indicate Wellington, but Auckland is more frequently cited for his death, though he had strong connections to Wellington in his later years). His death marked the end of a significant chapter in the art of both his native and adopted countries.
The Legacy of Petrus van der Velden
In the art history of the Netherlands, Petrus van der Velden is recognized as a notable member of the Hague School, a painter who contributed to the rich tradition of Dutch Realism. His works like The Dutch Funeral are considered important examples of the movement's ability to combine social observation with profound emotional depth.
In New Zealand, his legacy is even more pronounced. He is widely regarded as one of the most important figures in the development of New Zealand painting. His arrival brought a new level of professionalism and a European modernist sensibility to the local art scene. His powerful interpretations of the New Zealand landscape, particularly the Otira Gorge series, transformed the way local artists viewed and depicted their environment. He moved beyond the topographical or purely picturesque, injecting a sense of drama, mood, and psychological intensity into landscape painting.
His influence as a teacher was also crucial. By inspiring a generation of younger artists, he helped to lay the groundwork for the future development of modern art in New Zealand. Artists like James Nairn, a Scottish contemporary who also arrived in New Zealand around the same time and settled in Wellington, shared a similar commitment to plein air painting and a more modern European approach, and together they significantly impacted the local art scene, though their styles differed. Van der Velden's emphasis on emotional expression and painterly technique resonated with students eager to break free from more academic constraints.
While artists like Charles Goldie and Gottfried Lindauer were gaining fame for their detailed portraits of Māori, Van der Velden offered a different path, focusing on the power of landscape and the expressive potential of paint itself. His work provided a vital link between European artistic traditions and the emerging art of New Zealand.
Critical Reception and Enduring Influence
During his lifetime, Van der Velden's work received mixed reactions, particularly in New Zealand. While some recognized his talent and the power of his vision, others found his dark palettes and somber subjects challenging or out of step with prevailing tastes for brighter, more idealized depictions. His uncompromising artistic stance and sometimes difficult personality may also have affected his contemporary reception.
However, in the decades following his death, his reputation has grown steadily. Art historians and critics have increasingly recognized his importance as a transitional figure who brought a new depth and seriousness to New Zealand art. His paintings are now highly valued and are held in major public collections in both New Zealand and the Netherlands, including the Museum Boijmans Van Beuningen in Rotterdam and Te Papa Tongarewa Museum of New Zealand in Wellington.
Exhibitions of his work continue to draw interest, and scholarly research has further illuminated his contributions. He is seen not just as a painter of two countries, but as an artist whose work transcends national boundaries, speaking to universal themes of human experience, the power of nature, and the artist's quest for truth. His influence can be seen in the work of later New Zealand landscape painters who continued to explore the expressive potential of the local environment, such as Toss Woollaston or Colin McCahon, though their styles evolved in very different modernist directions.
Conclusion: A Transnational Artistic Figure
Petrus van der Velden was an artist of considerable talent and unwavering conviction. From the fishing villages of Holland to the rugged mountains of New Zealand, he pursued his artistic vision with passion and integrity. He mastered the techniques of Dutch Realism and applied them to new and challenging subjects, creating a body of work that is both powerful and deeply moving.
As a key member of The Hague School, he contributed to a significant movement in Dutch art. As an immigrant artist in New Zealand, he became a foundational figure, transforming landscape painting and inspiring a new generation of artists. His life and work demonstrate the complex interplay of artistic tradition, personal experience, and cultural context. Petrus van der Velden remains a compelling figure, an artist whose paintings continue to resonate with their emotional honesty and their profound sense of place, bridging the artistic worlds of Europe and the Pacific. His legacy is a testament to the enduring power of art to capture the human spirit and the myriad moods of the natural world.
