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Holst, Richard (Nicolaüs) Roland  

Jan Jaap Heij

(b Amsterdam, Dec 4, 1868; d Bloemendaal, Dec 31, 1938).

Dutch painter, printmaker, illustrator, writer and stained-glass artist. He trained at the Rijksakademie in Amsterdam (1886–90), under the directorship of August Allebé. Having initially painted and drawn Impressionistic landscapes, he started working in the ’t Gooi region in 1892, where, influenced by Vincent van Gogh and Jan Toorop, he made a number of Symbolist drawings and lithographs. In 1896 he married the Dutch writer Henriette van der Schalk. They both devoted themselves to the recently founded Sociaal Democratische Arbeiders Partij. In the years up to c. 1900 Holst produced among other things a series of lithographs of political cartoons with socialist content, as well as serene landscapes and paintings of girls from the village of Huizen. His allegorical murals (1902; in situ), on topics such as ‘Industry’ or ‘Commerce’, in the new Koopmansbeurs in Amsterdam by H. P. Berlage (1876–1903), marked an important point in his career as his first opportunity to construct a monumental piece of work. Partly inspired by the murals in the town hall at ’s Hertogenbosch by Antoon Derkinderen, he developed a tight, stylized type of design, which he believed to be ideal for visually representing idealistic and exalted thoughts. In his murals (...

Article

Veth, Jan Pieter  

Annemieke Hoogenboom

(b Dordrecht, May 18, 1864; d Amsterdam, July 1, 1925).

Dutch painter, graphic artist, poet and critic. He was trained by August Allebé at the Amsterdam Rijksacademie. The circle of Allebé’s pupils with whom he associated, including George Hendrik Breitner, Willem Witsen and Jacobus van Looy, were known as the ‘Amsterdam school’ and were closely linked with the literary world. In 1885 Veth became involved with the avant-garde periodical De Nieuwe Gids. The reviews he wrote for it advocated an individualistic aestheticism which is not, however, manifested in his own paintings of this period; the rather naive realism of the portrait of his sisters Cornelia, Clara and Johanna Veth (1884–5; Amsterdam, Rijksmus.) is typical. The unforced portrait of the poet Albert Verwey (1865–1937) of 1885 (Amsterdam, Stedel. Mus.), dominated by blue-green and grey colours, is nearer to an assertion of mood. Around 1886 Veth attempted landscape painting under the tutelage of Anton Mauve, with whom he went on study trips in the countryside. Drawings and etchings of subjects from peasant life date from this time. Some of Veth’s etchings, including ...