Carel Nicolaas Storm

Key facts

Lived

1841–1924, Dutch

Movement

• Realism

1. 1841Born Carel Nicolaas Storm van 's-Gravesande in Breda, into an aristocratic Dutch family. His father insisted he study law rather than pursue art.
2. 1865Graduated in law from the University of Leiden at the age of 24. Three years later he defied his family's expectations and moved to Brussels to train as an artist.
3. 1868Studied under Willem Roelofs and Felicien Rops in Brussels, aged 27. Rops taught him etching and became a lifelong friend, shaping his printmaking career.
4. 1893Returned to the Netherlands and settled in The Hague at the age of 52, joining the Hague School circle. He became known for atmospheric seascapes and still lifes.
5. 1900Awarded a gold medal at the Exposition Universelle in Paris, aged 59. The honour confirmed his international standing as a printmaker and painter.
6. 1924Died in The Hague aged 82. His etchings and paintings are held in major collections including the Rijksmuseum and the National Gallery of Art in Washington.

• What is Carel Nicolaas Storm known for?+

  Carel Nicolaas Storm is known for being one of the leading etchers of the Hague School. He co-founded the Dutch Etching Club with Willem Witsen and produced over four hundred etchings. These etchings include seascapes, interiors, and still lifes.
• What is Carel Nicolaas Storm's most famous work?+

  It is difficult to name one single work as Carel Nicolaas Storm's 'most famous'. However, some period sources may provide insight into the notability, reception, or importance of particular works during his career. Without more information, it isn't possible to determine which piece brought him the most attention. Examining exhibition catalogues, reviews, or mentions in historical art publications might reveal which paintings were most discussed or admired during his time. Further research into collections that hold his art may also offer clues about which pieces are considered significant today. Further study of Storm's artistic output and its historical context would be needed to give a more conclusive answer about his most famous work.
• What should I know about Carel Nicolaas Storm's prints?+

  Carel Nicolaas Storm (1827-1900) was a Dutch painter, draughtsman, and lithographer. Prints are often based on existing artworks; in the 17th and 18th centuries, prints were assessed as either 'original', a copy, or in the style of a particular master. An original meant that the work was a new creation, not a copy. Copies were based on a prototype, and were generally cheaper. However, some copies were highly valued. Works described as 'in the manner of' a master were typically low in price, though there were exceptions. Prints were created to examine any changes the original artwork had undergone. When transcribing inscriptions on prints, words occurring some distance apart on a single line are separated by a hyphen; those on different lines are separated by a forward slash. Copies include drawn and painted versions. They are mentioned only if they shed light on the earlier form or importance of the original.
• What style or movement did Carel Nicolaas Storm belong to?+

  Carel Nicolaas Storm belonged to the Dutch Realism movement, which emerged during the 17th century. This artistic style arose in the Netherlands due to several factors, most notably the Reformation and the establishment of Protestantism. Religious and political unrest had divided the Low Countries into two distinct entities: Flanders, which remained Catholic and royalist, and the Netherlands, which became a republic and a centre of Protestantism. The Dutch Golden Age was a period of growing trade, prosperity, increased confidence, and awareness of cultural identity. The visual exuberance of the Baroque style, with its Catholic associations, stood in contrast to the Protestant ethic of self-denial and sobriety. As a result, artists had no real purpose apart from portraiture commissions, and their professional status became insecure.
• What techniques or materials did Carel Nicolaas Storm use?+

  Without specific information about Carel Nicolaas Storm's methods, some general observations about painting techniques of the period may be useful. Seventeenth-century painters often employed a limited palette, selecting colours appropriate for the specific stage of the work they intended to complete. This approach involved using set recipes and formulas that were part of artistic tradition, changing slowly over time. During the early stages of creating a painting, artists often used a toned, monochrome underpainting, heightening the lit areas with a paint containing lead white. The background was typically addressed next, followed by the head or costume, excluding the collar, cap, and cuffs. These items were usually completed last, often overlapping adjacent parts of the painting. Some artists used lead white as a continuous intermediate layer between the ground and paint. An underdrawing in black chalk was laid on this layer. This layer isolated the ground, added luminosity, and provided a surface for the underdrawing.
• What was Carel Nicolaas Storm known for?+

  During the 17th century, a realistic style developed in the Netherlands. This development occurred for several reasons, most notably the Reformation, which established Protestantism as a branch of Christianity during the previous century. Religious and political unrest divided the Low Countries into two nations: Flanders, which remained Catholic and royalist, and the Netherlands, which became a republic and a centre of Protestantism. The removal of Catholic religious art in the Netherlands created a void in the artistic sensibilities of the Dutch population. Increased trade and prosperity initiated the Dutch Golden Age, resulting in heightened confidence and awareness of cultural identity. The visual extravagance of the Baroque style, with its Catholic associations, contrasted sharply with the Protestant values of self-denial and sobriety. Besides portrait commissions, artists had limited purpose, and their professional standing became uncertain.
• When did Carel Nicolaas Storm live and work?+

  It is not possible to determine Carel Nicolaas Storm's dates of birth and death from the provided texts. However, the passages do provide some context for the time and place in which he lived and worked. A painter named Carel van Mander was in Rome in 1575. In 1875, Vincent van Gogh saw Storm's painting *The Bush* in the Louvre. Van Gogh was also familiar with a similarly arranged *Road in the Dunes* from the Rijksmuseum; he had a reproduction of it in his Paris apartment. Jules Michelet wrote about *The Bush* in his *Diary*: 'This little path becomes the road of a man’s life. Here it is, here is the man…'. Artists of the Hague School could view a different version of *The Bush* at Rijksmuseum in Amsterdam. Four copies of *The Bush*, entitled *Le coup de vent*, were sold in 1852.
• Where can I see Carel Nicolaas Storm's work?+

  It is difficult to pinpoint exactly where you might find works by Carel Nicolaas Storm. However, many major museums have collections of Dutch art and art deco objects, either of which might include Storm's work. You could try the Rijksmuseum and the Mauritshuis in The Hague, or the Museum Boymans-van Beuningen in Rotterdam. You might also check collections further afield, such as the Metropolitan Museum of Art in New York, the Los Angeles County Museum of Art (LACMA), or the Royal Ontario Museum in Toronto. In the UK, the Victoria & Albert Museum in London, the National Museums of Scotland in Edinburgh, and the Manchester Art Gallery are possibilities. Many smaller galleries and museums may also hold his works.
• Where was Carel Nicolaas Storm from?+

  Without more information, it is difficult to determine Carel Nicolaas Storm's place of origin. It is possible that the name has been misspelled or that the artist is obscure. However, there are some potential clues based on similar names and locations in the Netherlands. For example, Carel Visser was born in Papendrecht, Netherlands, in 1928. Rembrandt Harmensz van Rijn (1606-1669) was born in Leyden. Jacob van Ruisdael (1629-1682) began his working career in Haarlem. Salomon van Ruisdael (about 1602-1670) was established at Haarlem about 1616. Pieter Saenredam (1597-1665) passed most of his life in Haarlem. Hercules Seghers (1590-1640) became a member of the painters’ guild in Haarlem in 1612 and also worked in Utrecht, Amsterdam, and The Hague. Jan Steen (1626-1679) was the pupil of Jan van Goyen.
• Who did Carel Nicolaas Storm influence?+

  Carel Nicolaas Storm's artistic impact is difficult to measure directly through historical sources. However, contextualising Storm's practice within broader art-historical movements offers some insight into potential connections. The Düsseldorf Academy painters Johann Wilhelm Schirmer and Caspar Scheuren, alongside artists like Decamps, Diaz de la Peña, and Rousseau, demonstrate an interest in Romanticism. These artists, active in the 19th century, engaged with mood and painterly gestures, elements that may resonate with aspects of Storm's work. Another perspective involves considering the influence of Frans Hals on later artists. Claus Grimm's 1990 study positions Hals as a precursor to Manet and an early influence on Paul Cézanne, connecting him to Courbet, Leibl, and Van Gogh. Grimm notes that Hals's peinture and individual stroke link commissioned portraiture to abstract colour and shape. While this focuses on Hals's afterlife in art, it suggests a way of tracing influence through stylistic elements and approaches to painting. These connections, though indirect, provide a framework for analysing Storm's place within artistic lineages.
• Who influenced Carel Nicolaas Storm?+

  The question of artistic influence was a topic of debate during the Dutch Golden Age. According to period art theory, pupils were expected to study established masters and incorporate elements of their style. This could take the form of close copies for technical study, variations to show understanding, or even attempts to surpass the original model. Franciscus Junius advised artists to look to the best masters for guidance, but to do so in a way that improved upon the original. The goal was to create a work that was both a homage to the model and a display of the artist's own skill. Similarly, Samuel van Hoogstraten wrote that an artist should respect the prints and drawings of earlier masters, as they can awaken the spirit and inspire new ideas. He also noted that while an artist might imitate another, they should not simply steal from them, but rather be inspired by the same spirit.
• Who was Carel Nicolaas Storm?+

  Carel Nicolaas Storm, sometimes referred to as C. M., was an acquaintance of Vincent van Gogh. Van Gogh mentions him in letters when recounting conversations about art and artists. In one instance, Van Gogh defended the reputation of the artist De Groux after C. M. made a disparaging remark. Van Gogh rebuked C. M. for questioning De Groux's character, asserting that an artist's personal life should remain private if their work is beyond reproach. Van Gogh compared De Groux to masters like Millet and Gavarni, though C. M. apparently did not consider Gavarni a master. On another occasion, C. M. saw a drawing Van Gogh had sketched at night with Breitner, depicting the Paddemoes (the Jewish quarter near the New Church) as seen from the Peat Market. Jules Bakhuyzen also saw the drawing and recognised the location. C. M. then asked Van Gogh to create more city views.