Anton Mauve

His best-known paintings depict peasants working in the fields. His paintings of flocks of sheep were especially popular with American patrons, so popular that a price differential developed between scenes of "sheep coming" and "sheep going".

Vincent van Gogh is recorded as having studied under Anton Mauve. The recorded working language is Dutch. The field of work recorded is painting and visual arts. Subjects and genres recorded for the work are portrait. Places of work recorded in the authority are Haarlem, Amsterdam and The Hague. Residence is recorded at Zaanstad and Zaandam. Works named in the authority record are Morning Ride on the Beach, Launching a fishing boat (type 'Pink') in the sea and The milking corner. Work by Anton Mauve is recorded in the collections of Museum Boijmans Van Beuningen, Minneapolis Institute of Art, Art Institute of Chicago, Thyssen-Bornemisza Museum and Tate.

• Name — Anton Mauve • Born — 18 September 1838 • Birthplace — Zaandam, Netherlands • Died — 5 February 1888 • Place of death — Arnhem, Netherlands • Field — Painting • Movement — Realism • Patrons — Goupil & Cie

• Illustration — Morning Ride on the Beach (1876), oil on canvas, Rijksmuseum Anton Mauve was born on 18 September 1838 in Zaandam, a town in the Dutch province of North Holland. A year after his birth, his father Willem Carel Mauve, a Mennonite chaplain, was sent to Haarlem, the capital city of the province where Mauve grew up. He was apprenticed to the painter Pieter Frederik van Os followed by Wouter Verschuur. In his further development he worked with Paul Gabriël, painting from nature, and they regularly stayed and worked together at Oosterbeek, the 'Dutch Barbizon'. He was a friend of renowned Dutch landscape painters Jozef Israëls and Willem Maris and, encouraged by their example, he abandoned his early highly finished manner for a freer, looser method of painting, and the brilliant palette of his youthful work for a tender lyric harmony which is generally restricted to delicate greys, greens, and light blue. Most of Mauve's work depicts people and animals in outdoor settings. In his Morning Ride in the Rijksmuseum, for example, fashionable equestrians at the seacoast are seen riding away from the viewer. An unconventional detail, horse droppings in the foreground, attests his commitment to realism. In 1872, Mauve settled in The Hague where he became a leading member of the Hague School of painters and one of the founders of the Hollandsche Teekenmaatschappij in 1876, as well as playing a leading role in the development of the Pulchri Studio, The Hague's most influential art society at the time. In November 1874 he married Ariëtte (Jet) Carbentus (1856–1894), and together they had a son, Anton (1876–1962), who also became a painter. Around 1900, Mauve's work was highly admired internationally, particularly in the United States. During the American Gilded Age, paintings of the Hague School were actively collected by wealthy American collectors and industrialists. Through art dealers such as M. Knoedler & Co., works by Anton Mauve entered important American collections and museums, including The Timber Truck, now in the Carnegie Museum of Art in Pittsburgh. In the last two years of his life, Mauve settled in the village of Laren in the region surrounding Hilversum called the Gooi area. The group of painters who settled there, including Jozef Israëls and Albert Neuhuys, came to be known collectively as the Larense School and the region around the Gooi was dubbed 'Mauve land' as far afield as the United States. Mauve influenced many other painters one of whom was the Scottish painter, Robert McGregor (1847–1922). Mauve died suddenly in Arnhem on 5 February 1888.

• Illustration — Ariëtte (Jet) Carbentus, the Artist's Wife, in the Dunes. She was a cousin of van Gogh on his mother's side. Mauve was married to van Gogh's cousin Ariëtte (Jet) Sophia Jeannette Carbentus, and he was a major influence on van Gogh, who revered him. He is mentioned, directly or indirectly, in 152 of van Gogh's surviving letters. Van Gogh spent three weeks at Mauve's studio at the end of 1881 and during that time he made his first experiments in painting under Mauve's tutelage, first in oils and then early the next year in watercolour (previously he had concentrated on drawing). Mauve continued to encourage him and lent him money to rent and furnish a studio, but later grew cold towards him and did not return a number of letters. In a letter to his brother Theo van Gogh dated 7 May 1882, van Gogh describes "a very regrettable conversation" in which Mauve told him their association was "over and done with" adding by way of explanation that van Gogh had a vicious character. Van Gogh continued his letter by expressing his sorrow, and then launches defiantly into a passionate defence of his relationship with Clasina "Sien" Maria Hornik (Sien), a pregnant prostitute he had befriended. The presumption must be that Mauve had heard of the relationship (although van Gogh's letter does not say so expressly) and broke off the association because of it. However, their relationship had already become strained by late January. Nevertheless, van Gogh continued to hold Mauve in very high esteem and dedicated one of his most iconic paintings to Mauve's memory after hearing of his sudden death. Mauve's mother Elisabeth Margaretha Hirschig was a first cousin twice removed of Anton Hirschig, the young Dutch artist who was a fellow lodger with van Gogh at the Auberge Ravoux at the time of van Gogh's death.

• Illustration — Landscape with cattle • Illustration — The Return of the Flock, Laren • Illustration — The Timber Truck (c. 1880), Carnegie Museum of Art • Entering the Fold (c. 1885–8), drawing and watercolour, Tate Gallery • Milking Time (c. 1875), oil on canvas, National Gallery • The Timber Truck (c. 1880), oil on canvas, Carnegie Museum of Art, Pittsburgh. • Landscape with cattle, chalk on paper, Courtauld Institute of Art • Landscape with Cattle, oil on canvas, Museum of Fine Arts, Houston • Shepherdess, oil on canvas, National Museum of Wales • Morning Ride along the Beach (1876), oil on canvas, Rijksmuseum Amsterdam • Riders in the Snow in the Haagse Bos (1879), watercolour and gouache, Rijksmuseum Amsterdam • De Torenlaan te Laren (1886), oil on canvas, Rijksmuseum, Amsterdam • Ariëtte Carbentus, wife of the artist, sitting in the dunes (c. 1876), oil on canvas, Rijksbureau voor Kunsthistorische Documentatie, The Hague (private collection) • Gathering Seaweed, oil on canvas, Musée d'Orsay, Paris • Changing Pasture (c. 1880s), oil on canvas, Metropolitan Museum of Art, New York • The Return of the Flock, Laren (c. 1886 -1887), oil on canvas, Philadelphia Museum of Art, Philadelphia • Digging up a Tree, watercolor, Museum of Fine Arts, Boston • Returning Home, oil on wood, Art Gallery of New South Wales • A Shepherdess and Her Flock, oil on canvas, Metropolitan Museum of Art

The authorities additionally record the headings Anthonij Mauve, Antonij Mauve, mauve a. Mauve and anthony mauve. His recorded language was Dutch. He was the child of Willem Carel Mauve. One child is recorded: Anton Rudolf Mauve.