Copyright This work is in the public domain. Anna Abrahams died in 1930; copyright lasts 70 years after the artist’s death, so it ended in 2000.
In context
Melon — Anna Abrahams
Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 81 at death.
Painted when the artist was 61. The artist lived to 81. 4 of the 5 dated works by this artist in our catalogue came earlier.
Shaded: the lifetime of Anna Abrahams (1849–1930) ▲ this work, 1910 every dated painting, decade by decade
Pick one work above: name two things it shares with this one, and one thing that's different.
More works to set beside this one: originaluniqueart.com/en/art/similar/melon-by-anna-abrahams/
Measured from the image
Main colour
Driftwood #8f815a
Catalogued palette
These colours inside the artist’s whole palette Find other paintings by colour
Artist and museum
Born in Middelburg, Netherlands
Born in the coastal town of Middelburg, Netherlands, Anna Adelaïde Abrahams grew up within a family of intellect and letters. Her father, Hendrik Paulus Abrahams, was a man of many pursuits, working as a bookseller, journalist, and publisher. This environment of literacy and observation likely shaped the keen eye she would later bring to her canvases. As she matured, her interests turned toward the delicate interplay of light and form, leading her to seek formal instruction under masters such as Jan Frederik Schütz sr., Rudolphina Swanida Wildrik, Maria Vos, and Adriana Johanna Haanen.
In 1877, she moved to The Hague, a city that would become the center of her creative life. It was here that she refined her craft at the Royal Academy of Art. Her days were spent in study, while her evenings were often dedicated to working alongside the painter Petrus van der Velden. This period of intense learning laid the foundation for a career defined by a profound connection to the natural world, specifically through the intimate study of flowers and fruit.
The evolution of her technique reveals a painter in constant dialogue with her own perception. In her early years, her work possessed a certain weight; her palette was dark and heavy, perhaps influenced by the subtle guidance of Sientje van Houten. However, as the decade turned toward the 1880s, a transformation occurred. Her brushwork became looser, and her colors grew lighter, reflecting a new way of seeing the world around her. While she was primarily known for her still lifes, she occasionally ventured into landscapes, portraits, and even the rare, daring subject of the nude figure.
Her professional life was marked by several significant milestones:
Her regular participation in the Levende Meesters exhibitions throughout the Netherlands starting in 1882.
Exhibitions of her work in major European cities including Paris, Berlin, Düsseldorf, and Brussels.
The honor of exhibiting at the Palace of Fine Arts during the 1893 World's Columbian Exposition in Chicago.
Her leadership roles within the art community, including serving on the board of the Pulchri Studio.
Anna Abrahams remained an active force in the Dutch art scene until her death in The Hague. She was a woman of significant standing, a member of the art association Ons Doel Is Schoonheid and a respected figure within the Pulchri Studio. Her dedication to her craft was recognized through major exhibitions, including a retrospective at Pulchri Studio for her seventieth birthday and another at the Koninklijke Kunstzaal Kleykamp when she reached eighty. These honors spoke to a lifetime of consistent, disciplined observation.
Today, her presence is felt in the most esteemed collections across the Netherlands. Her paintings and watercolors can be found in the Stedelijk Museum Amsterdam, The Mesdag Collection, the Gemeentemuseum Den Haag, the Zeeuws Museum, and the Kröller-Müller Museum. Through these works, she continues to offer a glimpse into the quiet, luminous beauty of the objects she once held so closely in her gaze.
On show in Gouda, Netherlands
Museum Gouda serves as a local history museum situated in the west of the Netherlands, positioned between Rotterdam and Utrecht. The institution occupies a centuries-old guest house located in the heart of the city center. This site is specifically found at Achter de Kerk 14, situated directly behind the St Janskerk.
The museum is housed within the former Catharina Gasthuis, a building that dates back partly to the 14th century. This former hospice provides a sense of continuity to the urban fabric of Gouda. The architecture reflects the long-standing history of the area, maintaining a presence that connects the modern visitor to the city's past through its physical structure.
The museum occupies a structure with deep roots in the urban fabric of Gouda, situated in the heart of the city center. This building was once the Catharina Gasthuis, a former hospice that provided care within the community. Parts of this edifice date back to about the 14th century, lending a sense of continuity to the surrounding streets. The architecture reflects its long history as a place of refuge and healing.
Positioned across the alley from the St Janskerk, the building sits in close proximity to the city's religious center. The physical presence of the former hospital provides a quiet, heavy atmosphere that complements the historical objects housed within its walls. Its location ensures a direct connection to the medieval layout of the city. The scale of the building remains a constant in the central district.
The collection comprises over 40,000 items that trace the evolution of local life and faith. Among these are significant 17th-century altarpieces by Wouter Pietersz. Crabeth and Cornelis Schut. These religious works survived the iconoclasm and offer a direct connection to the clandestine Catholic community of Gouda. Large militia paintings also occupy the space, providing a sense of the civic order and social structures of the Dutch Golden Age.
Beyond the large-scale canvases, the museum holds more intimate objects of daily existence and specialized history. Gouds plateel, consisting of ceramics and earthenware, represents the local craftsmanship that defined the region. This is accompanied by collections of clay pipes, a product for which the city was once famous. The presence of torture equipment provides a stark contrast to the decorative arts, grounding the collection in the more difficult aspects of historical justice.
The Baptism of Saint Eustace and his wife, 1554 - Pieter Pourbus
The Quack, 1652 - Jan Steen
The Candlestick (Still Life with Candle), 1878 - François Bonvin
The presence of the Triptych with Scenes of the Life of the Virgin by Dirck Barendsz, dating to about 1565, offers a rare encounter with the Venetian style within the local tradition. This oil on panel work survived the iconoclasm that transformed many other collections. Nearby, the monumental altarpieces from St. John’s Church command the space, having been preserved through the turbulent religious shifts of the sixteenth century. These works exist alongside life-sized preparatory drawings, known as cartoons, created for the stained-glass windows of the same church.
The collection brings together significant individual contributions from the Dutch Golden Age. Works by Michael Sweerts, Bartholomeus van der Helst, and Ferdinand Bol are held here, providing a sense of the artistic caliber present in the region. These paintings are complemented by a 1:350 scale model of Gouda as it appeared in 1562, a detailed marquette that provides a physical sense of the city's historical layout.
Triptych with Scenes of the Life of the Virgin, about 1565 - Dirck Barendsz
1:350 scale model of Gouda, 1562
The museum welcomes visitors from Tuesday to Sunday, between 11:00 and 17:00. Admission is set at €8, while children aged 5 to 17 are admitted for €2. Those holding a Dutch Museum Pass will find it valid for entry. The institution remains closed on January 1, Kings’ Day, and December 25.
A particular highlight occurs every Thursday at 12:30, when a guide provides an introduction to the city scale model. This 1:350 scale marquette offers a detailed view of Gouda as it appeared in 1562. Standing before this model allows for a precise understanding of the urban layout and the historic structures that once defined the city's landscape.
Study it on your own wall: Melon by Anna Abrahams as a hand-painted oil edition, made to your size
originaluniqueart.com/en/art/download/melon-by-anna-abrahams/
For art students and researchers
Melon — Anna Abrahams
Answer in your own words. There are no wrong answers here — only answers you can explain.
Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.
You can see the original "Melon" at the Museum Gouda, Gouda, Netherlands.
Yes - the artwork is kept in the artist's home country. The birth country of Anna Abrahams is Netherlands, and the museum holding the original of "Melon" is in Netherlands.
"Melon" by Anna Abrahams is in the public domain - its copyright has expired. Copyright duration runs from the artist's death, which occurred in 1930.
The contrast level of "Melon" by Anna Abrahams is gentle.
Overall, "Melon" is recorded as brilliant. Perceived brightness describes how light or dark the work appears.