Knowing what we know now, we could really kick ourselves. Some Impressionist masterpieces were within reach, and still they got away...
There are still hardly any artworks by female Impressionists in the Netherlands, and not a single painting by Degas. Museums are trying their best to fill the gaps, but now have to pay vast sums for these artworks. How did it come to this?
History could have taken a different course. In some cases, someone simply didn’t think that an Impressionist work was ‘attractive’ enough. Or people didn’t know enough about new developments in art to recognise the value of the paintings. The asking price was sometimes too high, or there were other artists who were a touch more popular. That’s a shame, but what you don’t buy is also an indication of your taste, vision and priorities.
In this episode, we take a closer look at three missed opportunities by Renoir, Manet and Cézanne.
Renoir, Luncheon of the Boating Party
This painting is now seen as one of the greatest icons of French Impressionism. ‘Such a picture creates a sensation wherever it goes’, said the American owner. Everywhere, except the Netherlands…
Pierre-Auguste Renoir, Luncheon of the Boating Party, 1881, The Phillips Collection, Washington, DC, acquired 1923
In 1883, Jos de Kuyper opened the doors of his Rotterdam Art Club, where he exhibited and offered international art for sale. He deliberately hung a handful of Impressionist works alongside traditional paintings, to gradually introduce the Dutch visitors to the modern art of the time. None of the Impressionist works were sold, including Renoir’s impressive Luncheon of the Boating Party. Anyone who wants to see the iconic work in real life now has to travel to Washington.
Manet, A Bar at the Folies-Bergère
This is the first oil sketch for Manet’s eponymous and world-famous painting A Bar at the Folies-Bergère (Courtauld Gallery, London). The artist offers an exciting depiction of modern Parisian nightlife, which is one of the reasons why the work is so popular.
The German businessman Frans Koenigs bought the study in 1928 and ten years later, gave it on long-term loan to the Stedelijk Museum in Amsterdam. Loans like this are great for museums, but there’s always an element of uncertainty, as the owner or beneficiaries can take back the work at any time.
With this in mind, in 1993, the Stedelijk Museum tried to add the painting to the list of works falling under the Netherlands’ Cultural Preservation Act. Works on this list are deemed to have unique value and are not permitted to leave the country.
Edouard Manet, Study for ‘A Bar at the Folies-Bergère’, 1881, Private collection, with thanks to HomeArt
This attempt to secure the painting for the Collectie Nederland was not successful. Koenig’s heirs put the work up for auction the following year, where it was sold for £ 4.4 million to a private collector. After 55 years (!) the painting left the museum.
What happened is exactly what the Stedelijk Museum wanted to avoid: this iconic painting disappeared from public view. At a museum, everyone who wants to has the opportunity to see the work. The painting is now worth € 35 million, and when faced with such astronomical sums, the chance of ‘buying it back’ is getting steadily smaller.
Cézanne, Still Life
At the start of the 20th century, the walls of the Rijksmuseum were full of masterpieces by Paul Cézanne. But today, you have to search for them. Why is this? Willem Steenhoff, the progressive deputy director of the Rijksmuseum at the time, wanted to introduce visitors to modern art from abroad. He found an ally in Cornelis Hoogendijk, a lawyer and art collector from The Hague who sympathised with this aim. And more importantly, who also owned the art.
Paul Cezanne, Still Life, 1892–1894, The Barnes Foundation, Philadelphia
In circa 1890, Hoogendijk frequently travelled to Paris, where he fell in love with Impressionism. He even liked the work of the at the time undiscovered and unloved Cézanne; he was able to buy it for a pittance. In 1901, Hoogendijk had no less than 33 Cézannes in his collection, which he was happy to loan to the Rijksmuseum. Attempts by the Rijksmuseum to secure the paintings and ensure they stayed in the Netherlands were unsuccessful. After Hoogendijk’s death, his collection was worth a fortune, and in 1920 his family understandably decided to sell the artworks. As a result, the paintings were scattered around the world.
Art for eternity
Millions of euros fly around on the art market when it comes to Impressionism. And museums also enter the fray. Only they are not in pursuit of profit, and acquire art for the art. This enables museums to tell more complete stories, and to ensure that the art can be enjoyed by as many people as possible for as long as possible.
When an artwork enters a museum collection, that is in principle where it stays, for eternity. Museums also help to keep the art in the best possible condition. So that in 150 years, our great-grandchildren will be able to celebrate the 300th anniversary of Impressionism, with the masterpieces still in all their splendour.