10/02/2021
ΠΠΎΡΡΡΠ΅Ρ ΠΊΠΈΡΡΠΈ Π³ΠΎΠ»Π»Π°Π½Π΄ΡΠΊΠΎΠ³ΠΎ ΠΆΠ°Π½ΡΠΎΠ²ΠΎΠ³ΠΎ Ρ
ΡΠ΄ΠΎΠΆΠ½ΠΈΠΊΠ°, ΠΎΠ»ΠΈΠΌΠΏΠΈΠΉΡΠΊΠΎΠ³ΠΎ ΡΠ΅ΠΌΠΏΠΈΠΎΠ½Π° 1928 Π³ΠΎΠ΄Π° Π² ΠΊΠΎΠ½ΠΊΡΡΡΠ΅ ΠΈΡΠΊΡΡΡΡΠ² ΠΡΠ°Π°ΠΊΠ° ΠΠ·ΡΠ°ΡΠ»ΡΡΠ° ΠΈ ΠΏΡΠ΅ΠΎΠ±ΡΠ°ΠΆΠ΅Π½ΠΈΠ΅ ΠΏΡΠ΅ΠΊΡΠ°ΡΠ½ΠΎΠΉ ΠΠ½Π°ΠΈΡ Π² ΠΎΠ΄Π½Ρ ΠΈΠ· Π΅Π³ΠΎ ΠΡΠ· π§‘...................................................
Jozef IsraΓ«lsβs son, Isaac Israels (1865β1934) was raised on a diet of painting and travel. At thirteen, he entered art school in The Hague, where his prodigious talent was soon noticed. In 1881, he began a painting that was purchased before it was completed by Hendrik Willem Mesdag. In 1886, Israels enrolled at Amsterdamβs Art Academy, where he was considered βtoo goodβ. Israels often spent the summer months with his father in Scheveningen, where he painted seaside scenes in bright colours. In Amsterdam, Israels spent much of his time with George Hendrik Breitner. Both were fascinated by the idea of portraying city life by capturing a passing moment in time. To convey the sense of a snapshot, they cropped their subjects abruptly. Israels was in Paris, London and briefly in the Dutch East Indies from 1903 to 1923. He then returned to The Hague and took over his father's studio. There he remained, producing impressionist paintings in light colours.
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