12 Disadvantages Of Van Gogh Trees

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Dozens of admirable works by the leading, backward nineteenth-century French artists were what you saw aback you stepped over the beginning of the Amsterdam abode of Andries Bonger (1861-1936). Bonger accumulated an absorbing art accumulating over a aeon of fifteen years, and it all began in Paris.

There, in 1879, aloof eighteen years old, he started out as the youngest abettor at a trading firm. In his additional time he visited galleries and exhibitions, agilely immersing himself in the apple of abreast art and feasting his eyes on it.

Yet he alone began to aggregate actively afterwards abiding to the Netherlands. His advantageous job as an allowance abettor afforded him the banking agency to do so. He bought and acquired works by Vincent van Gogh, Émile Bernard and Odilon Redon, amid others.

His accumulating grew into one of the best important ones of French avant-garde art in the Netherlands. That was annihilation abbreviate of exceptional, accustomed that Dutch collectors in this acreage could be counted on one hand.

Vincent van Gogh, Self-portrait, 1887, Rijksmuseum Amsterdam

Emile Bernard, Woman Sitting in a Field: Brittany, c. 1890

Odilon Redon, The Boat, 1898

During his time in Paris, Andries Bonger became bust accompany with Theo van Gogh, Vincent's brother. They aggregate a adulation of art and literature, about which they could allocution for hours on end.

Thanks to his assignment as an art dealer, Theo was able-bodied acquainted with the Parisian art apple and anesthetized on his ability to Andries. ‘My eyes are opened added every day,' Andries wrote about his friend’s astute encouragement. Theo additionally alien him to his brother Vincent, from whom Andries eventually acquired no beneath than seven paintings.

When Theo affiliated Andries' sister Jo, the band amid the two families became alike closer. It is accordingly applicable that about bisected of Bonger's accumulating concluded up in the Van Gogh Museum.

Jo van Gogh-Bonger and her son Vincent Willem

Andries Bonger capital as complete a accumulating as accessible of the assignment of two artists: Odilon Redon and Émile Bernard.

He met Bernard at Vincent van Gogh’s funeral. In that period, Bernard mainly corrective religious capacity in ablaze planes and colours. This appealed to Bonger, and he bought dozens of his works.

However, there was an artisan with whom the beneficiary acquainted an alike greater affinity, namely Odilon Redon (1840-1916). It was in Theo's Parisian collapsed that Bonger aboriginal saw a assignment by him: Bankrupt Eyes. It depicts a amount whose eyes are bankrupt to arresting reality.

That charge accept appealed to Bonger, for he, too, adopted to lose himself in a dream apple amidst his works of art. Bonger advised the artist's abstruse assignment as the complete aerial point of his time.

Emile Bernard, Village Street: Saint-Briac, 1889

Emile Bernard, Abode amid Trees, Pont-Aven, 1888

Odilon Redon, In Heaven or Bankrupt Eyes, 1889

Andries Bonger believed that art was a absolute announcement of the maker's mind. A abutting accord amid beneficiary and artisan was all-important for a bigger compassionate of the art.

Bonger and Redon came to allotment a abysmal and dupe bond. They met for the aboriginal time in Paris in 1891. Aback Bonger confused aback to Amsterdam two years later, they kept in abutting blow through letters, added than 300 of which accept been preserved.

The two men aggregate a affection for music and abstract and corresponded abundantly about the art of their time. Naturally, they generally discussed the works by Redon that Bonger capital to buy or had already acquired.

Ultimately, over a aeon of fourteen years, Bonger accumulated a accumulating that was adumbrative of Redon's absolute oeuvre, from his aboriginal charcoal assets and prints in abysmal atramentous to his after pastels and paintings in colour.

Odilon Redon in his studio

Odilon Redon, Childhood (Arï Redon), 1898

Odilon Redon, Concern for the Absolute, 1891

Bonger gave a abode to all the works of art by Redon and added artists that he calm in his home. They covered the walls in a anxiously orchestrated hanging. He compared this to basic a allotment of music, area anniversary new assignment adds a agenda to the accord of the whole. The aftereffect was a assignment of art in itself.

Redon was carefully complex in this project. He suggested, for example, blind the works on chicken wallpaper, which the beneficiary after did. In addition, Redon called the frames and passe-partouts for his own works, because he acquainted that this was acute to the acquaintance of his art.

The absorbing aftereffect of both men’s efforts can be apparent in these photographs.

Andries Bonger at home, Vossiusstraat, Amsterdam, ca. 1908, clandestine collection

Interior of Stadhouderskade 56, Andries Bonger's home in Amsterdam, with works by Redon, Cézanne en Monticelli on the wall, photo: W.J.G. van Meurs, 1904, Rijksmuseum Amsterdam.

Interior of Stadhouderskade 56, Andries Bonger's home in Amsterdam, with works by Redon en Van Gogh on the wall, photo: W.J.G. van Meurs, 1904, Rijksmuseum Amsterdam

The consummate celebrity of Bonger's accumulating were the adorning works that Redon and Bernard fabricated abnormally for his home. Both artists ensured that they formed a accomplished with the art already blind there.

Bernard, for instance, busy a mirror anatomy and a broiler awning that akin the colour palette of the artworks of Redon. Redon fabricated the adorning panels The Buddha and The Red Tree, which were recessed in the bank as if they were murals.

These adorning works accomplished a abundant ambition of Bonger. He wrote to Redon in 1903:

‘It was a dream of abundance to one day accept a baby abode furnished according to my claimed aftertaste and busy by you and Bernard.’

Emile Bernard, Busy Mirror Anatomy with Mirror, 1908

Emile Bernard, Breton Women, Fire-screen, 1892

Odilon Redon, Buddha, 1904

Bonger generally let the artists whose art he bought accept their own frames. He was assertive that they knew which one best ill-fitted their work.

As these pictures rarely afflicted hands, all the aboriginal frames accept been preserved. This is exceptional, and affords invaluable information, because it agency we apperceive how the artists themselves capital to present their work.

Redon usually asked his approved frame-maker J. Boyer in Montmartre to accommodate a applicable frame. Boyer chose attenuate gold ones that lent Redon's paintings a dainty aspect. For important works, such as the annual still activity Vision, Boyer autonomous for a baroque white anatomy with gold inlay.

The accent Redon absorbed to the framing of his assignment emerges in this letter to Bonger. He wrote:

‘Above all, acquaint me about the frames for which I took albatross and about the aftereffect of the works. [...] How acute they assume to me, and afflicted by the things that beleaguer them.’

Odilon Redon, Vison. Vase of Flowers, 1900, in the aboriginal frame

Odilon Redon, The Thinker at the Window, Drawing in the address of Goya, 1878, in the aboriginal frame

Émile Bernard, Abode amid Trees, Pont-Aven, 1888, in the aboriginal frame

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