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In 1901, the Nerée worked in Madrid as Secrétaire du Consulat des Pays-Bas. He caught TBC, a disease that would determine his further life. In Madrid De Nerée was visited by his friend [[Henri van Booven]], the future biographer of [[Louis Couperus]], who later gave a thinly veiled report of this visit in his novel ''Een liefde in Spanje'' ('A Love in Spain', 1928). De Nerée also inspired Van Booven to write his volume of (prose) poems ''Witte Nachten'' ('White Nights', 1901) and the novel ''Tropenwee'' ('Tropical Agony', 1904), the latter being a Conrad-like report of his traumatic visit to the Belgian Congo [http://ajol.info/index.php/tvl/article/view/29842].
In 1901, the Nerée worked in Madrid as Secrétaire du Consulat des Pays-Bas. He caught TBC, a disease that would determine his further life. In Madrid De Nerée was visited by his friend [[Henri van Booven]], the future biographer of [[Louis Couperus]], who later gave a thinly veiled report of this visit in his novel ''Een liefde in Spanje'' ('A Love in Spain', 1928). De Nerée also inspired Van Booven to write his volume of (prose) poems ''Witte Nachten'' ('White Nights', 1901) and the novel ''Tropenwee'' ('Tropical Agony', 1904), the latter being a Conrad-like report of his traumatic visit to the Belgian Congo [http://ajol.info/index.php/tvl/article/view/29842].
In his turn Van Booven gave De Nerée ''The Early Work'' (1899) by Aubrey Beardsley. This was obviously [http://a%20great%20influence a great influence] on De Nerée's style of drawing. Later, as becomes apparent from his use of color, he is more free from his early influences and developed his own unique style. He is a very original representative of the European [[symbolist]] and decadent artistic movement.{{Citation needed|date=November 2010}} He was an exceptional artist with a very 'un-Dutch' style.{{Citation needed|date=November 2010}}
In his turn Van Booven gave De Nerée ''The Early Work'' (1899) by Aubrey Beardsley. This was obviously [http://www.verloren.nl/boeken/2086/248/5111/cultuur-en-mentaliteit/lopende-vuurtjes great influence] on De Nerée's style of drawing. Later, as becomes apparent from his use of color, he is more free from his early influences and developed his own unique style. He is a very original representative of the European [[symbolist]] and decadent artistic movement.{{Citation needed|date=November 2010}} He was an exceptional artist with a very 'un-Dutch' style.{{Citation needed|date=November 2010}}
During his life he received little recognition; few people even knew that he painted and drew, and only after his death was his work exhibited.
During his life he received little recognition; few people even knew that he painted and drew, and only after his death was his work exhibited.
Due to his poor health, drawing and painting became ever more difficult around 1904. The works from this period though are characterized by their colors and as such are his best and most unique achievements (See: B. Polak. Het symbolisme in de Nederlandse schilderkunst, 1890-1900. The gold nuances and symbolism of these works often recall associations with the best work of [[Klimt]] and [[Moreau]]. In 1905 he managed to sell some work in Germany. He died on October 19, 1909, 29 years of age, in the southern German town of Todtmoos. He is buried in Clarens, near Montreux. Carel de Nerée tot Babberich was a classic example of a [[fin-de-siecle]] decadent genius{{Citation needed|date=November 2010}} who died young, not unlike [[Ernest Dowson]] or Aubrey Beardsley.
Due to his poor health, drawing and painting became ever more difficult around 1904. The works from this period though are characterized by their colors and as such are his best and most unique achievements (See: B. Polak. Het symbolisme in de Nederlandse schilderkunst, 1890-1900. The gold nuances and symbolism of these works often recall associations with the best work of [[Klimt]] and [[Moreau]]. In 1905 he managed to sell some work in Germany. He died on October 19, 1909, 29 years of age, in the southern German town of Todtmoos. He is buried in Clarens, near Montreux. Carel de Nerée tot Babberich was a classic example of a [[fin-de-siecle]] decadent genius{{Citation needed|date=November 2010}} who died young, not unlike [[Ernest Dowson]] or Aubrey Beardsley.

Revision as of 07:51, 6 February 2014

Christophe Karel Henri (Karel) de Nerée tot Babberich (March 18, 1880 – October 19, 1909) was a Dutch symbolist artist who worked in the decadent and symbolist style of Aubrey Beardsley.

Carel de Nerée around 1900
La musique (1904)
Introduction to Extaze (1900–01)
The beautiful Image (1900)
Clownerie (1904)

De Nerée was born in Zevenaar (The Netherlands) on Huize Babberich, the son of Frederick Nerée tot Babberich (1851–1882) and Constance van Houten (1858–1930).

De Nerée began drawing and writing in 1898. De Nerée's literary writing and art work was very much inspired by decadent and symbolist authors such as Charles Baudelaire, Paul Verlaine or Gabriele d'Annunzio, and artists as De Feure, Goya, Johan Thorn Prikker, and Jan Toorop. He more and more focused om his art. Only posthumously, in 1916, two poems were publiced in a French periodical.

In 1901, the Nerée worked in Madrid as Secrétaire du Consulat des Pays-Bas. He caught TBC, a disease that would determine his further life. In Madrid De Nerée was visited by his friend Henri van Booven, the future biographer of Louis Couperus, who later gave a thinly veiled report of this visit in his novel Een liefde in Spanje ('A Love in Spain', 1928). De Nerée also inspired Van Booven to write his volume of (prose) poems Witte Nachten ('White Nights', 1901) and the novel Tropenwee ('Tropical Agony', 1904), the latter being a Conrad-like report of his traumatic visit to the Belgian Congo [1]. In his turn Van Booven gave De Nerée The Early Work (1899) by Aubrey Beardsley. This was obviously great influence on De Nerée's style of drawing. Later, as becomes apparent from his use of color, he is more free from his early influences and developed his own unique style. He is a very original representative of the European symbolist and decadent artistic movement.[citation needed] He was an exceptional artist with a very 'un-Dutch' style.[citation needed] During his life he received little recognition; few people even knew that he painted and drew, and only after his death was his work exhibited. Due to his poor health, drawing and painting became ever more difficult around 1904. The works from this period though are characterized by their colors and as such are his best and most unique achievements (See: B. Polak. Het symbolisme in de Nederlandse schilderkunst, 1890-1900. The gold nuances and symbolism of these works often recall associations with the best work of Klimt and Moreau. In 1905 he managed to sell some work in Germany. He died on October 19, 1909, 29 years of age, in the southern German town of Todtmoos. He is buried in Clarens, near Montreux. Carel de Nerée tot Babberich was a classic example of a fin-de-siecle decadent genius[citation needed] who died young, not unlike Ernest Dowson or Aubrey Beardsley.

The nature of his work, his being Dutch, the Beardsley-replication and thus the 'decadent' character, set de Nerée naturally in a somewhat isolated position in art history. During the twentieth century, however his work was exhibited several times and has received a relatively large crowd of admirers. To the general public "the Dutch Aubrey Beardsley" remains mostly unknown though.

Works

Here is a selection of his works:

  • Henri van Booven as a young priest (1900)
  • Walden, [not used] book cover (1900)
  • The beautiful image (1900)
  • Introduction to Ecstasy of Couperus (1900–01)
  • Ecstasy, finals (1900–01)
  • Self Portrait (1900–01)
  • Illustration for Le Jardin des Supplices (1899) by Octave Mirbeau (1900)
  • Love Game No. 1 (1900–01)
  • Black Swans (1901)
  • The Bride (1901)
  • Two Women (1901)
  • Salome (1901)
  • Owl(1903)
  • Clowning (1904)
  • La Musique (1904)
  • La rencontre (1904)
  • Sortie (1904)
  • Rococo (1904–05)
  • Rôdeuse (1904–05)
  • Portrait Study / selfportrait (1905)
  • Study of a Sulamitic (1905)
  • Le mauvais regard (1906)

Exhibitions

  • The Hague, Kunstkring, 1910
  • The Hague, d'Audretsch (with H. Daalhoff a.o.), 1914
  • Amsterdam, Arti, 19??
  • Haarlem, Du Bois, 1936
  • Milan & München, Gallery Levante, 1970
  • Laren, Singer Museum, 1974
  • Kleve, Städtliches Museum, 1975
  • The Hague, Staal Banker, 1982
  • Arnhem, Gemeentemuseum, 1986
  • Arnhem, Gemeentemuseum, 1998?
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