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45-436: In his will, Pieter Teyler stipulated that his collection and part of his fortune should be used to establish a foundation for their promotion: Teylers Stichting . The Teyler legacy to the city of Haarlem was split into two societies: Teylers First or Theological Society (Dutch: Teylers Eerste of Godgeleerd Genootschap ), intended for the study of religion and Teylers Second Society (Dutch: Teylers Tweede Genootschap ), which

90-447: A break with the Paris dealers, who would not let him paint what he wanted. Friendship played an important role in this group of painters and whenever one of them was invited to take part in a major exhibition, he would arrange for his friends to also submit work. The outside world was thus presented with a picture of a united artistic and stylized front. The gray tonality was to become one of

135-517: A collection of works from the Dutch Romantic School and the later Hague and Amsterdam Schools, including major works by Barend Cornelis Koekkoek , Andreas Schelfhout , Cornelis Springer , Hendrik Willem Mesdag , Jan Willem Pieneman , Anton Mauve , Jacob Maris , Jan Hendrik Weissenbruch , George Hendrik Breitner , Jozef Israëls , and Isaac Israëls . In 2007, the works of John James Audubon were displayed. The original mission of

180-465: A forested area near Fontainebleau. The emphasis of their work here was on painting nature as they saw it - Barbizon was not a school but a community of artists. This gave rise to the well known Barbizon school and their example was followed in the 1850s by a few Dutch painters who gathered in Oosterbeek in order to work in the surrounding countryside. These painters had been influenced by the artists of

225-705: A room adjacent to the Oval Room of Teylers Museum . The current (2008 ) directors are: The Teylers Stichting was responsible for the Teylers Museum , the Teylers Hofje and two societies: the Teylers Eerste Genootschap (Teylers First Society) which focuses on theological questions and the Teylers Tweede Genootschap (Teylers Second Society) which focuses on scientific questions. The Stichting

270-815: Is a group of artists who lived and worked in The Hague between 1860 and 1890. Their work was heavily influenced by the realist painters of the French Barbizon school . The painters of the Hague school generally made use of relatively somber colors, which is why the Hague School is sometimes called the Gray School . After the great periods of Dutch art in the Golden Age of the 17th century, there were economic and political problems which diminished activity in art. The fine arts in

315-573: Is also responsible for the Teylers Chair at Leiden University . The actual management of the museum was left to a kastelein and later the museum director (not to confuse with the directors of the foundation). In 1981 the governance of the Museum was transferred to a separate foundation on the request of the government, so that they could help fund it through subsidies after its recognition as museum of national importance. This separate foundation became

360-715: The Mosasaurus . To demonstrate the principles of hydraulics, he commissioned models of mills and cranes. To disseminate natural and cultural knowledge, public experiments were conducted, such as those with van Marum's large electrostatic generator built in 1784 by John Cuthbertson in Amsterdam (the largest in the world). Lectures were given and scientific literature published. The collection of Teylers Museum holdings include works by Michelangelo , Raphael , Guercino , and Claude Lorrain . The museum contains graphic work of Rembrandt and Adriaen van Ostade . The Painting Galleries show

405-695: The Stichting tot Beheer en Instandhouding van Teylers Museum ( Foundation for management and conservation of Teylers Museum ), and the Teylers Stichting still appoints two of the six members of the Supervisory Board of that foundation. The Teylers Stichting still does own the actual buildings. As determined in the testament as well, the Stichting is established in the Fundatiehuis . The complete archive of

450-567: The 1890s in France, impressionism was followed by post-impressionism, which places greater emphasis on the form, structure and content of the painting. This movement, too, was picked up in the Netherlands, resulting in a Dutch post-impressionism and introducing abstract elements and cubism into modern painting. Famous examples are Vincent van Gogh , who received his first art training from Anton Mauve , as well as Piet Mondrian , who initially painted in

495-645: The Barbizon School and emulated them by registering their impressions with rapid strokes of color. Johannes Warnardus Bilders , father of Gerard Bilders , moved to Oosterbeek in 1852 and attracted many pupils: Anton Mauve , a cousin-in-law of Vincent van Gogh , the Maris brothers ( Jacob , Willem and Matthijs ) in the summer, as well as the regular visitors Willem Roelofs and Paul Gabriël . Some of these artists, such as Jozef Israëls , Jacob Maris and Jan Hendrik Weissenbruch visited Barbizon to paint there. There

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540-465: The Dutch 18th century cloth merchant and banker Pieter Teyler van der Hulst to support the people in need and encourage worship , science and art ( ter ondersteuning van behoeftigen en ter aanmoediging van godsdienst, wetenschap ). When Teyler deceased in 1778, he was without children or direct family, and specified in his testament how his money was to be spent. He left money for several individuals,

585-509: The Enlightenment: that people could discover the world independently, without coercion by church or state. The example that guided the founders in establishing Teylers Museum was the Mouseion of classical antiquity: a "temple for the muses of the arts and sciences" that could also serve as a meeting place for scholars and the venue for various collections. In 1779, Leendert Viervant started on

630-568: The Hague Academy of Drawing and completed training with the Swiss animal painter, Charles Humbert. Paul Gabriël went to Kleve, just over the German border, to study with the landscape painter Barend Cornelis Koekkoek . Jozef Israëls , unsatisfied with the academies at Groningen and Amsterdam, left for Paris to attend classes at the studio of François-Édouard Picot . Jacob Maris left the Hague Academy for

675-503: The Hague School and are considered to be in the Amsterdam Impressionism movement. Although not usually associated with the Hague School, Johan Jongkind was called a forerunner of impressionism who influenced Eugène Boudin , who later was mentor to Claude Monet . Others who had at least a tangential connections with the artists of the Hague School are Charles Rochussen , Richard Bisschop and Lawrence Alma-Tadema . Around

720-448: The Hague School was less pronounced than is occasionally suggested. This group included some who are designated below as members of the second generation of the Hague School such as George Hendrik Breitner , Isaac Israëls (son of Jozef Israëls), Willem Bastiaan Tholen and Willem de Zwart (also known as William Black). In addition, Willem Witsen , Floris Verster , Jan Hillebrand Wijsmuller and Jan Toorop have some background with

765-966: The Netherlands enjoyed a revival around 1830, a time now referred to as the Romantic period in Dutch painting. The style was an imitation of the great 17th-century artists. The most widely accepted paintings of this period were landscapes and paintings which reflected national history. Andreas Schelfhout was a painter of landscapes, especially winter scenes, but also woodlands and the dunes between The Hague and Scheveningen. His best known pupils included Wijnand Nuyen , Johan Barthold Jongkind , and Jan Hendrik Weissenbruch . Schelfhout's friend and occasional collaborator Hendrik van de Sande Bakhuyzen principally composed pastoral landscapes like those of Golden Age master Paulus Potter , but trained several prominent Hague School artists, notably his son Julius van de Sande Bakhuyzen , Willem Roelofs , Francois Pieter ter Meulen , Hubertus van Hove , and Weissenbruch. Wijnand Nuyen

810-610: The Spaarne (the current main entrance) was designed by the Viennese architect Christian Ulrich . It opened in 1885. The rooms behind it – the Instrument Room , and Fossil Room I and, behind it, Fossil Room II – were designed by the Haarlem architect A. van der Steur. At the same time, the library was extended and a 150-seat auditorium was added. Over a century later, in 1996, a large new wing

855-462: The Teylers Stichting is still intact and available. The early years (1778–1827/1828) in the archive have been digitized and are available online on the website of the Teylers Museum. This includes the minutes of the directors' meetings and the receipts of materials and museum pieces that were bought. From these receipts it can be reconstructed what the activities of the Teylers Stichting have been in

900-516: The Teylers Stichting was Adriaan van Zeebergh , the pensionary of the city of Haarlem , a powerful civil servant position at the time. He replaced Barnaart, who died in 1780. The foundation is governed by five directors, which are appointed via Co-option . The first directors were five of Teylers friends: The directors traditionally meet in the " Grote Herenkamer " (Large Boardroom) at the Teylers Fundatiehuis (English: Foundation House),

945-524: The area. Weissenbruch and Roelofs found The Hague to be growing too fast and retreated to the polders to continue painting. Anton Mauve and Jozef Israëls became active in the Laren School which perpetuated aspects of the Hague School. Albert Neuhuys , Hein Kever and Evert Pieters , were especially active there between 1880 and 1900. Realistic interiors of Laren farm houses, as well as plein air landscapes were

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990-459: The art collections of the museum, Trienke van der Spek is curator of the scientific collections, including fossils, minerals and the library. The museum had 137,000 visitors in 2019. Teylers Museum is a member of the Museumvereniging (Museum Association). Teylers Stichting The Teylers Stichting (English: Teylers Foundation ) is a Dutch foundation founded with the heritage of

1035-572: The atmosphere and impression of the moment. They painted in mostly in subdued colors, with a penchant for gray. That is why the Hague School is sometimes also called the Gray School. The painters of the Hague School conducted some of their artistic discussions as member of the Pulchri Studio , which had been founded in 1847 by Bosboom, Willem Roelofs and J. H. Weissenbruch at the home of the Hague painter Lambertus Hardenberg. Growing discontent among

1080-416: The beginning of his career Jozef Israëls went on a study trip to Düsseldorf. Also Julius van de Sande Bakhuyzen and Philip Sadée came to Düsseldorf. The Düsseldorf academy was famous as a training center for her scenery and histories painting. The bright colour order which distinguishes those paintings is unmistakable. Gerard Bilders had been seeking something of the kind in his own work, but on visiting

1125-420: The centre displays a mineralogical collection from the 18th century and the showcases around hold 18th-century scientific instruments. The upper gallery, which was designed to let in the maximum amount of light for viewing purposes, has 12 built-in bookcases, largely containing period encyclopaedias and periodicals. Over the ensuing centuries, the museum was gradually extended. The arrangement of each new part

1170-440: The characteristics of the Hague School. The name "Hague School" was coined in 1875 by a critic, Jacob van Santen Kolff , who used the phrases "a new way of seeing and depicting things", "intent to convey mood, tone takes precedence over color", "almost exclusive preference for so-called 'bad weather' effects", and "gray mood." The Hague School artists were less interested in a faithful portrayal of what they saw than in conveying

1215-501: The church and the general benefit as described above. Claims have been made by alleged family members that the testament was supposed to be limited in time to 100 years, after which the remaining money was to be transferred to the Teylers family. No such claims have been recognized in court. The Stichting was founded by five friends of Teylers, who were his executors and the first directors. The first replacing director (board member) of

1260-463: The complete series of accounts for all acquisitions, extensions, salaries and day-to-day purchases since 1778, the complete series of visitors' books since 1789, and the minutes of all meetings of the museum board since 1778. The museum is open six days a week; Tuesdays-Sundays 10:00-17:00. The museum is on the top 100 Dutch heritage sites list compiled by the Department for Conservation in 1990. It

1305-643: The corresponding institution in Antwerp and from there he went to study with Ernest Hébert in Paris. His brother Matthijs Maris studied with Nicaise de Keyser in Antwerp. Hendrik Willem Mesdag left Groningen to perfect his skills in Brussels under Willem Roelofs . He also received additional instructions from Lawrence Alma-Tadema , who would later move to England. In the 1830s artists like Théodore Rousseau , Jean-François Millet , Charles-François Daubigny , and Jean-Baptiste-Camille Corot found their way to Barbizon,

1350-425: The design of an "art and book room" behind Teyler's residence. This neoclassical room, whose shape quickly led it to be called the Oval Room , was designed for research and study; here, scientific experiments would be conducted, public demonstrations held, and books, drawings, and prints viewed by the public. The Oval room was opened in 1784, with the scientist Martin van Marum as its first director. A showcase in

1395-406: The details in his later work, painting beach scenes and landscapes in magnificently conceived planes of color with an almost abstract quality. Willem Maris became the painter of light he had always tried to be, producing summer meadows with sunlight sparkling on the water and cattle—the quintessence of the Dutch landscape. Matthijis Maris' further development was also remarkable, albeit tragic. Despite

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1440-481: The late 1860s. Hendrik Willem Mesdag was the first, moving there in 1869. Jacob Maris returned to The Hague in 1870 after the family's experience in Paris in the Franco-Prussian War . That same year Jozef Israëls came to The Hague, as did Anton Mauve. Willem Maris, Johannes Bosboom and Weissenbruch had always lived there. For Mesdag, the move marked the end of his student days in Brussels. For Maris it meant

1485-452: The national Exhibition in Brussels in 1860, he found what he had been looking for: a colored gray tonality, or as he put it "the impression of a warm, fragrant gray." The muted tones and warm gray that Bilders found here was certainly discussed with his friends in Oosterbeek and found its way into the work of the young Hague School painters. The migration of these artists to The Hague began in

1530-499: The past. The archive has been stored in a special room in the Fundatiehuis, as specified in the testament, which was provided with a special lock with five keyholes. Each of the directors would get one of the five different keys, and the lock was designed in such a way that it could not be opened or closed without at least three of the five keys - irrespective which. Hague School The Hague School ( Dutch : Haagse School )

1575-414: The preferred subjects of the paintings. Anton Mauve was particularly active in the latter and his views of the heathlands were quite popular with American art lovers. While The Hague was becoming too large for some, it was too small for others who became influential in the Amsterdam Impressionism group which developed there. This movement drew on city life for its subject matter, although the contrast with

1620-419: The second society included research, as well as education. After the death of van Marum, Teylers continued to attract scientists of high standing as caretakers. The theoretical physicist and Nobel Prize winner Hendrik Lorentz was appointed Curator of Teylers Physics Cabinet in 1910, a position he held until his death in 1928. At the time of his appointment, Lorentz was at the height of his scientific career and

1665-481: The support of family and friends, he led a solitary existence. He worked for years on his paintings of brides and portraits of children, which became increasingly hazy and dreamy until finally becoming completely detached from reality. By the mid-1880s the united front of the Hague School began to crumble. The character of the city of The Hague changed as it became larger. The small fishing village of Scheveningen changed as new suburbs were built and factories transformed

1710-674: The young artists in The Hague about the apparently insufficient opportunities for training and development was the reason for establishing the Pulchri Studio. Many members of the Hague School served on the board of the Pulchri Studio, so that the society became a bastion of the school for many years. Over the years, the artists of the Hague School changed. Jacob Maris enriched his palette with vivid brushwork, especially in his Amsterdam town views. Jozef Israëls had completely abandoned his anecdotal manner and somber coloring. J. H. Weissenbruch blurred

1755-433: Was a central figure in the international community of physicists. Under his leadership, the Teylers Museum conducted scientific research in such diverse fields as optics, electromagnetism, radio waves, and atom physics. Lorentz was succeeded by the physicist and musician Adriaan Fokker . Physicist Wander Johannes de Haas served as conservator in the 1920s. The museum's entire archives have also survived intact. They include

1800-507: Was a slight connection between the "Düsseldorf Art Association" when an exhibition on "Fishing in Scheveningen" occurred. It concerned such artists as Carl Hilgers  [ de ] , Hermann Mevius  [ de ] , Carl Adloff and Andreas Achenbach . The call of the Düsseldorf painters' school attracted artists of the Hague school, such Johannes Bosboom and J. W. Bilders. At

1845-517: Was added; this was the design of Hubert-Jan Henket. In 2002, an adjoining property was added to the museum to serve as the museum shop and multimedia room. Teylers Museum holdings include fossils (some are the first ever discovered of Archaeopteryx ), minerals, scientific instruments, medals, coins, and paintings. The museum's first director, Martinus van Marum contributed to and used the facilities at Teylers Museum to research static electricity. To study fossils, he purchased fossil material such as

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1890-461: Was consistent with the insights of the day; thereafter it remained almost wholly unchanged. In the 19th century, the museum was expanded with a gallery for fossils ('Gaanderij der Versteeningen', in 1888 changed to the Numismatic Cabinet) and two painting galleries: Teylers First Painting Gallery in 1838 and Paintings Gallery II in 1892. In 1878, to mark the first centenary, a new entrance on

1935-467: Was nominated on 12 December 2011 by the Dutch Cabinet for UNESCO World Heritage Site status, based on its long history as a public knowledge institute and its continued efforts to preserve public access to its collections. However, the nomination was withdrawn in 2013. Since 1 January 2022, Marc de Beyer is the museum director . The former director is Marjan Scharloo. Terry van Druten is curator of

1980-402: Was one of the best of the romantic artists of the time and he had a great influence on Weissenbruch and Johannes Bosboom . Art training at that time was usually in the form of drawing schools, with no painting classes. Many young artists who later became members of the Hague School were frustrated by this and scattered to various places to receive the training they desired. Gerard Bilders left

2025-411: Was to concern itself with physics, poetry, history, drawing, and numismatics. The executors of Teyler's will, the first directors of Teylers Stichting, decided to establish a centre for study and education. Under a single roof, it would house all manner of suitable artifacts, such as books, scientific instruments, drawings, fossils, and minerals. The concept was based on a revolutionary ideal derived from

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