Landscape by Night, Haarlem,1886

Darío de Regoyos y Valdés

Regoyos y Valdés, Darío de

Ribadesella, 1857 - Barcelona, 1913

Landscape by Night, Haarlem,1886 (Paisaje nocturno nevado, Haarlem)

© Colección Carmen Thyssen-Bornemisza

Signed & dated lower left: ''86 Haarlem (Holanda) / D. de Regoyos''
Carmen Thyssen-Bornemisza Collection on loan to the Thyssen-Bornemisza Museum, Madrid

Oil on canvas

87 x 119 cm

CTB.1995.27

Artwork history

  • Private Collection, Madrid.

  • Sotheby’s, Madrid, November 23, 1995. Lot 74.

  • Carmen Thyssen-Bornemisza Collection.

1928

Artistas Vascos, San Sebastián, Asociación de artistas vascos de Bilbao, n. 34.

1991

Tesoros de las Colecciones Particulares Madrileñas Pinturas Españolas del Romanticismo al Modernismo, Madrid, Real Academia de Bellas Artes de San Fernando, pp. 14, 136-137.

1996

De Canaletto a Kandinsky. Obras maestras de la Colección Carmen Thyssen-Bornemisza, Madrid, Museo Thyssen-Bornemisza, n. 82, p. 212, lám. p. 213.

1997

Del vedutismo a las primeras vanguardias. Obras maestras de la Colección Carmen Thyssen-Bornemisza, Bilbao, Museo de Bellas Artes de Bilbao, n. 49, p. 164, lám. p. 165.

1997 - 1998

The Spirit of the Place. Masterworks from the Carmen Thyssen-Bornemisza Collection, Nueva York, The Frick Collection; Hartford (CT), Wadsworth Atheneum Museum of Art, n. 16, p. 56, lám. p. 57.

1998

La pintura española del cambio de siglo en la Colección Carmen Thyssen-Bornemisza, Zaragoza, Palacio de Sástago, n. 18, p. 74, lám. p. 75.

2000

De Corot a Monet. Los orígenes de la pintura moderna en la Colección Carmen Thyssen-Bornemisza, Valencia, Museo del Siglo XIX, p. 146, lám. p. 147.

2000

Del impresionismo a la vanguardia en la Colección Carmen Thyssen-Bornemisza, México, DF, Museo del Palacio de Bellas Artes, p. 106, ám. p. 107.

2000 - 2001

La Révolte de la couleur. De l'impressionnisme aux Avant-gardes. Chefs-d'oeuvre de la Collection Carmen Thyssen-Bornemisza, Bruselas, Musée d'Ixelles, n. 19, p. 64, lám. p. 65.

2001

Landschaften von Brueghel bis Kandinsky. Die Ausstellung zu Ehren des Sammlers Hans Heinrich Baron Thyssen-Bornemisza, Bonn, Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, n. 66, p. 170, lám. p. 171.

2002 - 2003

Darío de Regoyos, Madrid, Fundación Cultural Mapfre Vida, p. 102.

2005 - 2006

Luz de gas. La Noche y sus Fantasmas en la Pintura Española (1880-1930), Madrid, Fundación Cultural Mapfre Vida, p. 200, lám. p. 2001.

2006 - 2007

Ensor and the avant-garde by the sea, Ostende, Museum voor moderne kunst.

2011

El Modernismo. De Sorolla a Picasso, 1880-1918, Lausana, Fondation de l'Hermitage, n. 63, p. 97, lám.

2012 - 2013

Rusiñol, Monet, Gauguin, Sunyer. El paisaje en la Colección Carmen Thyssen, Gerona, CaixaForum; Tarragona, CaixaForum; Lérida, CaixaForum, n. 16, p. 78, lám. p. 79.

2013 - 2014

Darío de Regoyos (1857-1913). La aventura impresionista, Bilbao, Museo de Bellas Artes de Bilbao; Madrid, Museo Thyssen-Bornemisza; Málaga, Museo Carmen Thyssen Málaga, n. 21, p. 90, lám. p. 91 ( Bilbao & Madrid).

2014

L'ideal en el paisatge. De Meifrèn a Matisse i Gontxarova. Col•lecció Carmen Thyssen, Sant Feliu de Guíxols, Espai Carmen Thyssen, p. 32, lám. p. 33.

  • -Soriano, R.: Darío de Regoyos. (Historia de una Rebeldía). Madrid, 1921, p. 145 y Darío de Regoyos. Santiago de Chile, 1935, pp. 166-167.

  • -Tesoros de las Colecciones Particulares Madrileñas. Pinturas Españolas del Romanticismo al Modernismo. [Exhib. Cat. Madrid, Real Academia de Bellas Artes de San Fernando, 1991]. Madrid, Comunidad de Madrid, Consejería de Educación y Cultura, Dirección General de Patrimonio Cultural, 1991 , pp. 14, 136-137.

  • -Darío de Regoyos y el País Vasco. San Nicolás, Juan (ed.). [Exhib. Cat.]. San Sebastián, Fundación Kutxa, 1994, p. 26 [Sheet by Juan San Nicolás].

  • -Sotheby’s (aut. corp.): Pintura antigua y de los siglos XIX y XX. [Auction Cat.]. Madrid, 1995, n. 74, lám. [Sheet by Juan San Nicolás].

  • -De Canaletto a Kandinsky. Obras maestras de la colección Carmen Thyssen-Bornemisza Museo Thyssen-Bornemisza. Llorens Serra, Tomàs (ed.). [Exhib. Cat. Madrid, Museo Thyssen-Bornemisza]. Madrid, Fundación Colección Thyssen-Bornemisza, 1996, n. 82, p. 212. [Sheet by Juan San Nicolás].

  • -San Nicolás, J.: ”Darío de Regoyos: Un español en los orígenes del arte moderno en Europa”. Los XX. Nacimiento de la pintura moderna en Bélgica. Exhib. Cat.]. San Nicolás, J. (ed.). Madrid, Fundación Cultural Mapfre Vida, 2001, p. 107, lám.

  • -Colección Carmen Thyssen-Bornemisza. Arnaldo, Javier (ed.). 2 vols. Madrid, Fundación Colección Thyssen-Bornemisza, 2004, vol. 2, p. 178, lám. p. 179 [Sheet byJuan San Nicolás].

  • -Litvak, Lily: “La noche iluminada. De la luz de gas a la electricidad”. Madrid 2005-2006, pp. 51-100, cit. p. 98.

  • -Luz de gas. La Noche y sus Fantasmas en la Pintura Española (1880-1930). Jiménez Burillo, Pablo y Litvak, Lily (eds.). [Exhib. Cat.]. Madrid, Fundación Cultural Mapfre Vida, 2005.

  • -Barón, Javier: “Bélgica y la pintura española del siglo XIX”. La senda española de los artistas flamencos. Madrid, Fundación Amigos del Museo del Prado – Círculo de Lectores, S.A., 2009, pp. 335-353 , cit. p. 346, lám. LXIV.

  • -Rusiñol, Monet, Gauguin, Sunyer. El paisaje en la Colección Carmen Thyssen, Gerona, CaixaForum; Tarragona, CaixaForum; Lérida, CaixaForum, 2012, n. 16, p. 78, lám. p. 79  [Exhib. Cat.].

  • -Darío de Regoyos (1857-1913). La aventura impresionista, Bilbao, Museo de Bellas Artes de Bilbao; Madrid, Museo Thyssen-Bornemisza; Málaga, Museo Carmen Thyssen Málaga, 2013, n. 21, p. 90, lám. p. 91 ( Bilbao & Madrid). [Exhib. Cat.].

  • -San Nicolás, Juan: Darío de Regoyos. Catálogo razonado. Oviedo, Museo de Bellas Artes de Asturias; Madrid, Fundación Azcona, 2014, n. 116, p. 124, lám.

  • -L’ideal en el paisatge. De Meifrèn a Matisse i Gontxarova. Col•lecció Carmen Thyssen, Sant Feliu de Guíxols, Espai Carmen Thyssen, 2014, p. 32, lám. p. 33. [Exhib. Cat.].

Expert report

Snowy Landscape by Night is a view of a canal in Haarlem in January 1886. In it, Regoyos masterfully captures the atmosphere of stillness and solitude that enveloped the scene during a cold winter’s night with newly fallen snow.

The approach to the composition is familiar to us from other paintings by Regoyos. The pictorial space is subdivided by diagonal and horizontal lines, while he adopts a viewpoint above eye level. Regoyos used light effects and shadows as vehicles of expression, creating appropriate contrasts and achieving an extraordinary sense of harmony. His love of light effects is evident even in his earliest work, and he painted numerous oils on similar subjects.

In the present work, the stillness of the night gives it a mysterious, poetic character. Stylistically speaking, it reveals affinities with the style of the Belgian Symbolist Fernand Khnopff (a fellow member of the group known as Les XX in later years). Khnopff painted canals and streams in a style similar to that of Regoyos in Un fin de jour (1891) and L’eau inmobile (1894)

The influence of foreign artists evident in works of this type was in part a product of the painter’s close friendships with poets and writers like Émile Verhaeren, Maurice Maeterlinck, and Georges Rodenbach, who represented the Symbolist movement in Belgian literature. Particularly significant in this regard was his relationship with Verhaeren, with whom he travelled in Spain in 1888, a journey that resulted in the publication of La España negra in 1898. Regoyos began work on a series of paintings of the same name in 1888.

The painting presented here is described in detail in the book dedicated to the painter by his closest friend, the journalist and author Rodrigo Soriano. “In Haarlem, Darío painted one of his boldest pictures. Irrepressible as he was, the artist made no concessions, either to the weather or the time of day. At dusk on a day in January -and that in Holland! (it was so cold that one’s breath froze), we went to the banks of a canal, where we saw an old boat stripped of its rigging. The banks were covered with snow. Slate roofs like spearheads bathed in silvery moonlight were visible through the trees. A few small lanterns cast an eerie, shimmering light on the water and snow, enveloping the trees in hues of pink. The painting captures this mood precisely, with all of its magical effects and the delicate tenderness of its colours, like a dream of a pole that caresses the imagination”.

Juan San Nicolás