From the Black is beautiful. Rubens to Dumas catalogue: Artist Model Adolf Boutar

Because I receive more and more requests from abroad for the exhibition catalogue Black is beautiful, Rubens to Dumas from 2008, I will publish, again, some of my research and writings in this book. The book has become unaffordable on Amazon.

Now, more than eleven years later, new information has emerged on paintings shown at that time in de Nieuwe Kerk of Amsterdam. Also on Adolf Boutar the man who was the model for  Breitner’s The Eunuch or Usher (coll the Stedelijk Museum of Amsterdam). In due course I will publish this new information. For now my writings in the Black is beautiful catalogue:

George Hendrik Breitner, Adolf Boutar als de eunuch, 1883 Stedelijk Museum Amsterdam
George Hendrik Breitner, Adolf Boutar als de eunuch, 1883 Stedelijk Museum Amsterdam

In contrast with Paris and Antwerp, where ‘the Orient’ had been a theme for some time, Dutch art academies did not provide their students with black models to study, although  the model Adolf Boutar, did pose at artists’ societies. Artists also began to observe and sketch black people in daily life: Isaac Israëls, for example, drew at least two pictures of a black woman and her child watching a show at the recently opened Carré Theatre in Amsterdam.

Isaac Israels Rijksprentenkabinet Amsterdam ca 1900
Isaac Israels Rijksprentenkabinet Amsterdam ca 1900

Adolf Boutar and Breitner 

92 Breitner BoutarThis sketch is one of the many studies, scribbles, sketches, watercolours and paintings which Breitner made of Adolf Boutar, capturing him in pencil, black chalk, charcoal, pastel, pen, watercolour and oil on canvas.

Artists like Breitner took such sketches very seriously and submitted them to exhibitions. In 1888, for example, Breitner sent sketchbooks entitled Four frames with scribbles from the sketchbook to an exhibition organised by the De Nederlandse Etsclub (The Dutch Etching Club) in Amsterdam. He believed that the principle of expression, then highly valued, appeared to best advantage in these ‘scribbles’. It was important for artists in this period to display spontaneous, free expression.

In Breitner’s study Boutar appears to be a warrior. In other sketches probably drawn from the same ‘pose’, the artist concentrated on the man’s profile and back as well. This study may even be the first step in the creation of the magnificent painting The usher  (first picture). Breitner uses the sketch to study the angles, lines and light falling on the mans tawny body.

Breitner Boutar Teylers
Breitner Coll Teylers Museum

The finished painting, The usher, also known as The eunuch or African warrior won a great deal of praise, even in Breitner’s lifetime. ‘It is one of the best works by Breitner that I know’, wrote Theo Molkenboer in De Amsterdammer on 19 April 1896.

Breitner placed Boutar before a dark-red background, which accentuates the white cloth in which he is wrapped and the light reflecting on his skin and in the angles of his body. He is tall and thin, filling the picture plane vertically; his sword crosses this plane horizontally. Breitner has also painted the man from a low viewpoint, which makes him appear more impressive. He is probably intended to represent an usher, or doorkeeper, in a harem.

93 Breitner Boutar Stuers
George Hendrik Breitner 1857 –1923 De Arabier ca. 1885

Breitner’s watercolour The Arab (De Arabier) is also an orientalising, fantasy impression, which shows a half-nude, dark-skinned man in a dark space taking something out of a bowl. It is difficult to tell whether the figure is a North African or a black African. Breitner’s Rembrandtesque decision to place the brown man before a brown background is characteristic. His interest clearly lay in the impression and colour scheme of an exotic situation. The work has been entirely staged. Breitner must have built the Arab’s hut in his own studio or at Pulchri Studio in The Hague.

Breitner Zittende Afrikaan Boutar  (arabier)Other works produced by Breitner on the same day reveal that the model was not an ‘Arab’ but Boutar. An almost identical work was exhibited in 1933, and earlier, under the title The negro (private collection). More related works are also known, all bearing different titles. In the majority of these it is not possible to see precisely who the man is, only the figure bending forward in the drawing Seated African (present whereabouts unknown), produced on the same day, can clearly be identified as Boutar.

Breitner produced a number of works featuring black people. These generally found favour. The critic W. Steenhoff wrote in 1911: ‘From Breitner I was most pleased to see, amongst various works from recent years the old wellknown watercolour, representing a seated negro. Before such a powerful piece of painting (even if it is executed in watercolour), before such a warmblooded demonstration, one is convinced, more than with the paintings present […] and above all the other watercolours, that the greatness of this painter has never been overestimated.’

Willem de Zwart and Boutar

Willem de Zwart (1862 –1931) Adolf Boutar
c. 1883 Black pencil on paper, 37 x 32 cm
Museum de Fundatie, Heino/Wijhe and Zwolle, 3033

This drawing is one of the few true portraits of Adolf Boutar. He is seated here in western clothing and seems to be rolling a cigarette. The drawing is relatively worked up and the face in particular has been given a great deal of depth. Large areas are hatched and Boutar’s surroundings can also be clearly seen. The setting might be a café. Boutar looks like a worker who has just taken a brief break.

In imitation of Jean-François Millet 1814 –1875 and other French artists, the Schilders van Tachtig (Eighties Painters), to whom De Zwart belonged, also embraced the life of the working classes as a subject. This portrait may have been drawn shortly before or after Boutars posed for the members of the Pulchri Studio society of artists.

The word rood (red) is written on the drawing beneath Boutar’s head, suggesting that it may have De Zwart’s intention to work it up later into a watercolour or a painting. In contrast with the images produced by all the other artists who depicted Boutar in paintings, drawings or watercolours, there is nothing exotic about De Zwart’s drawing, unless it is the vague contour of what might be an earring. A painting by De Zwart based on this study of Boutar is as yet unknown.

De Zwart was a pupil of Johannes Hendrikus Egenberger  and Jacob Maris 1838 –1899. In 1883 he became a member of the Pulchri Studio society of artists, where Boutar posed. He became very friendly with Breitner. In 1885 De Zwart became a member of The Dutch Etching Club. He is chiefly known for his etchings. At the 1889 Exposition Universelle in Paris he received an honourable mention for etching, at the 1894 Exposition in Antwerp he was awarded a gold medal.

Esther Schreuder in :  Black is beautiful, Rubens to Dumas  (2008)

All photos on this site are not intended for any commercial purpose. I have tried to trace all the rules and rights of all images. As far as I know, these images can be used in this way. If you ar a copyright holder and would like a piece of your work removed or the creditline changed then please do not hesitate to contact me.

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