Het atelierhoekje 1893

David Oyens

Original oil on canvas
31 ⨯ 42 cm
€ 5.000 - 10.000

Kunsthandel Pygmalion

• About the artwork
  David Oyens (Amsterdam 1842-1902 Brussel)
  Het atelierhoekje (1893) 31 x 42 cm
  Olieverf op doek, gesigneerd r.o.
  Herkomst:
  Kunsthandel Martinus Liernur ’s-Gravenhage (als ‘Stilleven’)
  Amsterdam, Sotheby Mak van Waay, 30 oktober 1979, lot 387
  Particuliere collectie
  Exposities:
  Arnhem, Musis Sacrum, Tweede Internationale Tentoonstelling Levende Meesters, Arnhem, 1893, nr. 322 (‘Het atelierhoekje’, prijs Nlg. 500)
  Den Haag, Gemeentemuseum, De gebroeders Oyens. David en Pieter Oyens. Een Nederlandse schilderstweeling in Brussel, 12 april – 13 juli 2008
  Sint-Joost-ten-Nolde, België, Charliermuseum, De gebroeders/Les jumeaux Oyens, 10 maart-30 mei 2010
  Literatuur:
  Wim van Krimpen, Saskia de Bodt, Fred Hendriks, De gebroeders Oyens. David en Pieter Oyens. Een Nederlandse schilderstweeling in Brussel, Zwolle/Den Haag 2008, pp. 84-85, afgebeeld
  
• About the artist

  David Oyens (Amsterdam, 1842 – Brussels, 1902) was a Dutch painter who, together with his twin brother Pieter Oyens, became known for his vivid and intimate impressions of everyday life. The brothers, who were virtually inseparable, often worked side by side in the same studio, painting each other’s models, scenes and sometimes even each other’s works. Yet each retained his own signature: David was generally seen as the technically stronger of the two, with a keen sense of light, composition and atmosphere.

  After their training at the Royal Academy in Brussels, the brothers settled permanently in that city, which was a vibrant artistic centre in the second half of the 19th century. David developed into a master at capturing intimate interiors, children at play, women in contemplation or simple scenes with a melancholic undertone. His use of colour is warm and rich, his touch loose and impressionistic in nature, which earned him a certain popularity in the circles of the Brussels avant-garde.

  In his later years, David gained increasing recognition, with exhibitions at home and abroad. After the death of his brother Pieter in 1894, David fell into a deep mourning that somewhat paralysed his work. His death in 1902 marked the end of a remarkable artistic diptych that enriched Dutch painting in a unique way. David Oyens is appreciated today for his subtle representation of intimacy, human emotion and the quiet life of bourgeois 19th-century interiors.

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