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Artist or Maker: ISAAC ISRAELS (The Netherlands 1865-1934)
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Notes: The bulk of the works of Issac Israels adhered strictly to the Dutch brand of Impressionism. Unlike their French counterparts who lit up the canvas with dazzling light of Southern France or others who sought for a brighter light in the Far East, the Dutch has a preference for the portrayal of the pale-grey, sensitive shades of Dutch autumns, dump springs or the hazy beaches. Hence, Israels was not as impressed with the abundance of light and colour in the Dutch East Indies as the other European artists when he made his first visit to Java in 1921.
It was an obligatory visit he needed to make as he had promised his friends. On the ship heading to Java, the artist wrote "This is a useless journey, I might as well admit to myself, but there will be so much pleasure in store for me on my return." (Rudd Spruit, Indonesian Impressions: Oriental themes in Western Painting, Wijk en Aalburg, 1992, p. 24.). Israels did not try to understand the local people or their culture, as a loyal adherent of 'Art for Art's sake', the prevalent theme in 1880s literature and painting, he did not believe that his work should contain any message. Hence, the artist simply recorded what he saw. The motley crowd of street-vendors, musicians and dancers were his endless sources of inspiration, which he would render in various mediums. His oil paintings, watercolours and drawings always give an impression of speed but they were usually results of numerous studies and working-sketches.
The present work is clearly a work of the Dutch impressionist at his best. Loosely composed with a distinct tendency towards a somber and earthy palette, the artist blends the lighter shades sporadically to enliven the scene which is a most common scene on the road in the early 20th century Dutch East Indies. The road is leading far back into the composition with people moving away from forefront thus giving a sense of movement and profound perspective. Lastly but not least, the composition evidently renders a greater importance to the man in the foreground revealing a preference for portraiture by the artist.
