Saturday, 28 January 2023

Rob Verf / Willem Claesz Heda


Willem Claesz Heda 

Still Life with a Fruit Pie

1644

oil on panel

80,6 x 101,5 cm

 

 

 

There isn’t a particular artwork that is my favourite. In my paintings (but also in my spatial work, collages, videos, etc.), there are many demonstrable interfaces with works of art from the past. All with different reasons: through the subject, the way of painting, the composition, the concept of space or colour. Some of my works are direct references to works by Pablo Picasso or by Vincent van Gogh. But the majority of my inspiration comes from Dutch baroque paintings, with painters such as Pieter de Hooch, Johannes Vermeer, Gabriel Metsu, Willem Claesz Heda, Rembrandt, and others. 

 

One of the subjects that interest me in the paintings of the Dutch Baroque Period is the fact that objects, as well as persons, are isolated in the whole. Nothing is present for decorative reasons, but has a function in the image. In addition, especially with Johannes Vermeer, light is very important. Unlike Rembrandt van Rijn, who depicted light as a material, Johannes Vermeer paints a spiritual light. The light is energy between the objects. 

 

The images of these historical paintings mix with the visual language and views of the contemporary. Social topics in the country where I am resident (Argentina), in South America or from the world in general mix with the Dutch tradition in painting. An example of this juxtaposition was my exhibition Vanitas (2022) in the National Museum of Fine Arts in Buenos Aires in Argentina, where the vanitas /still life subject was drawn towards the contemporary. Garbage -with it’s sculptural value- is a subject that can be found in many of my paintings and photographs over the years, either as a theme in it self, as an installation or as part of a painting. Garbage has direct interfaces with the vanitas theme. In particular, it clearly reflects the anthropogenic era in which we now find ourselves. 

 

The exhibition showed my artworks made in different decades about the subject, in combination with paintings from different centuries from the collection of the museum (Jan Fyt, Diego Rivera, Georges Braque amongst others). It was centred on an installation with five paintings that form a huge still life of garbage. A landscape of garbage as it appears in the street. Painted as an image of a hospital MRI-scan: representing an analysis of society.

 

Rob Verf,  2022



Rob Verf

MRI-Scan Of Society

2014

acrylic on canvas

140 x 210 cm

(collection Bank Of The Nation, Argentina)




Rob Verf

MRI-Scan Of Society

2018

acrylic on canvas

140 x 1020 cm

(Installation at the National Museum Of Fine Arts, Buenos Aires, Argentina, 2022)




Rob Verf (NL/AR)

MRI-Scan OF Society

2018

acrylic on canvas

140 x 200 cm

(One of the 5 paintings that form the installation)

www.robverf.com




Saturday, 14 January 2023

Remco Dikken / Henk ter Horst

 


Henk ter Horst

Geen titel

watercolour

14 x 11,5 cm

collection Jan en Wiepke Noltes




Henk ter Horst

Geen titel

collage, mixed media

17 x 12,5 cm

collection Jan en Wiepke Noltes




Henk ter Horst

Zelfportret

felt tip pen on paper

14 x 10 cm

collection Jan en Wiepke Noltes

 

 


After graduating from the Aki in Enschede, I was invited by the HeArtpool Hengelo Foundation for the HeArtfund prize. This meant a year of financial support, a studio, a solo exhibition in the art center of Hengelo, accompanied by a publication of my work. In this year I was updated by colleague Henk Lassche about the rich painting past of Hengelo. Names like Eef de Weerd, Riemko Holtrop, Jan van der Leest, Theo Wolvecamp passed by. But my favorite is Henk ter Horst. 

 

Ter Horst was an outsider. And it was only at the age of 52 that he took the step towards free artistry. Ter Horst often worked with cardboard or paper that came in through the letterbox. He preferred to work with Taleta, a Talens paint that is no longer made. This paint resembles gouache paint, but can be applied in thin layers without the colors flowing together. His spontaneous way of working really appeals to me. Everything seems to be right with him! In my opinion the faster, direct to the paper, the better the work. 

 

I recognize that in my own work. Often when I think about something, it goes wrong. Like Ter Horst, I want to preserve the spontaneity of a drawing. In 1983 Ter Horst gained national fame and many doors opened for him. With his participation in the exhibition of contemporary art organized by guest curator Albert Waalkens in the Boijmans van Beuningen museum in Rotterdam. Nevertheless, he remained loyal to Hengelo and preferred to work in isolation from his home studio. The HeArtfund prize has also been created for this purpose. To connect people with Twente. Keeping young artists for this region. So that they can work on their oeuvre in peace.

 

Remco Dikken, 2022




Remco Dikken

Dancing in spring

2022

acrylic on canvas 

30 x 24 cm

collection Akzo Nobel Art Foundation




Remco Dikken

Eiland 

2008

mixed media on paper

65 x 110 cm

collection Reyn van der Lugt 




Remco Dikken

I'm a cat

2022

acrylic on paper

19 x 28 cm

private collection




Remco Dikken (NL)

Rabbit Hill

2022

acrylic on canvas

60 x 50 cm

www.remcodikken.com




Sunday, 25 December 2022

Udona Boerema / Barend Cornelis Koekkoek



Barend Cornelis Koekkoek

Boomrijk landschap bij ondergaande zon

1850

oil on panel 

32,6 x 29,2 cm




Barend Cornelis Koekkoek

Eikenbos 

1856 

oil on canvas

134 x 157 cm

Museum Boijmans van Beuningen 

 



 

In the woods nearby my house I mostly find piece in mind. My mind is always a busy mind, a lot of thinking going on. To clear my head I like to go running for several kilometers or walk our dogs for hours in the woods.

It seems that trees have a slowing and calming effect on my brain.

 

And when the light in the forest touches the leaves and branches of the trees, beautiful shadows, shapes, hues and colors are formed on everything it touches, colors I'm afraid I could never paint or even put words to to describe them.

 

These colors and shapes have a huge effect on me, thought and image immerse themselves in a whole new world, my world.

 

And as I stand among all these shapes and colors, it suddenly dawns on me that these still, sturdy but vibrant trees have been here for years, decades and probably even longer. As if time has stood still and nothing changes here, as if I am standing and taking a seat in a painting by Barend Cornelis Koekkoek.

The forests in Twente are interspersed by the scenic landscape with and without some cattle, including some cows, sheep and chickens. Brilliant and without any mechanical presence also timeless, stunningly beautiful.

 

For me, BC Koekkoek captures the light so beautifully in his paintings, the way he draws and paints shapes and colors. As if he gives the trees a character, they look like quirky personalities who are the main characters in a painting that makes all the painted people fade into the background.

 

Udona Boerema, 2022






Udona Boerema 

Zonder titel 

2020 

transparant binder and acrylic paint on linen

200 x 160 cm 





Udona Boerema (NL)

Zonder titel

2022 

transparant binder and acrylic paint on linen 

160 x 140 cm 

www.udonaboerema.com 








Saturday, 10 December 2022

Patrick Ceyssens / Sigmar Polke



Sigmar Polke

Untitled, from the series São Paulo

1975

chemically manipulated gelatin silver print

124,8 × 141,6 cm

 

 

 

Images are the new thinking, visual thinking is the new way of thinking


Extra memory space is added to reinforce visual reminiscences. We never remember something the same way twice. Indeed, memory seizes so much more than only a fleeting image of reality and new memories are painted over the old ones. You have to imagine how inside of our head there is a constant rivalry between different memory contents that come up for air. But which one do we allow to surface first? Our memory cannot be compared to a hard drive. Nothing we save and retrieve remains unchanged. Recollection traces are either cleaned up or impaired. Our memories are part of the future, and so we will start ‘using’ these images. Recollection thus becomes the treasury of imagination. And when you furthermore think of how deeply they are swayed by emotions, we find ourselves drawn into an ever-changing ‘mind movie’.  

 

Patrick Ceyssens, 2022





Patrick Ceyssens (BE)

You can see it everywhere #4

2022

oil, spraypaint, pencil, print on canvas 

150 x 180 cm

www.patrickceyssens.com







Saturday, 26 November 2022

Annemieke Alberts / Van Ruysdael-Bacon-Piranesi

 

In short, my work is about the suggestion of spatiality that I want to render as clearly as possible with paint on a canvas. With difficulty, I made a selection of very diverse greats including musicians and composers in both classical, jazz and pop fields. In this blog, I have limited myself to three visual artists from art history. 




Jacob van Ruysdael

View of Haarlem with bleaching fields

1670-1675

oil on canvas

62,2 × 55,2 cm





Annemieke Alberts 

True colours

2022

acrylic and oil on canvas

100 x 120 cm

 

 

There are paintings that are ingrained in the collective memory of most art lovers and artists. You know them so well that you don’t actually look closely anymore. But then suddenly you can see a work from a different perspective. For example, when you are looking for solutions to a substantive problem with a new work. At that time, I was searching for another way to give form to spatiality.

This is how I rediscovered the work of Jacob van Ruysdael: 'Gezicht op Haarlem met bleekvelden'. It was on the cover of an artbook. Suddenly I saw it with different eyes. The way in which he emphasizes the vastness of the landscape in the painting and takes you as a viewer via the bleaching fields to the horizon is obvious but surprising at the same time. They lie like illuminated refuge hills inviting you to rest for a moment before you move on to what is to be experienced in the distance.

 

It inspires me how you can see that feature almost as an abstract form within an otherwise figurative and realistic painting. It has encouraged me to make use of similar forms in my work. Shapes that in another context could be seen as abstractly geometric but now can act as a resting point between everything that is happening in and with the paint concerning layering, handwriting, movement. Independent of any representation. It has also encouraged me not to distinguish between abstract or figuration. 

What also struck me was the beauty of silence in the work. Something I am always looking for in my work as well. Beauty that touches you, something that transcends opinions about what art should be.







Francis Bacon

In memory of George Dyer

1971

oil on canvas

each panel 198 x 147,5 cm





Francis Bacon

Man in Blue

1954

oil on canvas

197 x 135 cm





Annemieke Alberts

The view

2013

acrylic and oil on canvas

120 x 150 cm

 

 

Someone who applied this fact frequently in his somewhat later work is Francis Bacon. If you were to leave aside the fact that his work is precisely about people, but look purely at how he renders his figures (forms) with a firm stroke, and where paint is allowed to be matter, and in addition places densely painted abstract forms to indicate space, then there is also (in addition to the interesting subjects) on the formal plane much to experience. What touches me in his work is the inability of his portrayed figures to relate to their surroundings. The inner struggle has turned inside out in my experience.






Piranesi

Untitled (called The Drawbridge)

plate VII (of 16) from the series The Imaginary Prisons (Le Carceri d'Invenzione)

1761

etching with engraving

54,6 x 41,6 cm





Annemieke Alberts

U.S.O. unidentified standing objects 

2017

acrylic and oil on canvas 

160 x 180 cm

 

 

In Piranesi’s work I recognize the fascination with complex and layered spaces. Spaces that evoke confusion because they give the impression of being impossible in reality. With the difference that Piranesi’s work is graphic and composed of lines. I also often paint away complex pieces that are still visible under the top layer, and his work is much more detailed than mine.

In this painting (U.S.O), previously painted spaces under the top layer are still more or less visible.

 

Annemieke Alberts, 2022

 

www.annemiekealberts.nl