Drawng often is called the primary process and I like it so much, brimming over with an ocean of ideas, that I forget about transfering those ideas to the secondary stage: the canvas. There always is something to dust off and in 2017 I used ‘Nude – 03-09-15’ to work out a bigger theme, called ‘The Widow of Aleppo – 18-05-17’, after Rembrandt’s painting Jeremiah lamenting Jerusalem’s destruction. Since the war in Syria sort of came to an end but the people still suffer, I found it appropiate to do this anew but then in oil.
In Voorburg I went through a park at the Spinozalaan when I came across some geese with their young. One of the parents always is on the lookout and this one was sizing me up.
I was listening to ‘Between the sheets’ by The Isley Brothers when I completed this one so I tried to capture the sensual feel of the song in my drawing. The curvy sheets invited me to render the body in in the same way. At some spots I let the body flow into the sheets, following the diagonal rhythym. I often tell my students true abstraction lies in imagining the impossible and making sound and essential choices out of an endless sea of possibilities. Without making them any art work becomes plane realistic and that is or should be no fun for anyone.
The slanted position of the body inspired me to sketch some waves around it. I kept the focus on the body while tuning down the values in the waves a little bit.
This drawing complements the previous Beek (30-05-19) drawing in such respect that in this one the view is directed to the extension of the path I was walking on.
After a bunch of landscapes and cityscapes I felt it was time to return to my roundism ladies. For me changing the theme once in a while is very useful.
In the dead of summer means I am in the midst of the outdoor sketching season. Although I did not complete this one on the spot the invention of the basic composition and planal distribution were done at Katendrecht, Rotterdam.
I was heading for the Filosofendal at Beek, Ubbergen, Gelderland, Netherlands when I decided to take a turn to the left.
There is an ancient spot in Hatert, Nijmegen, Netherlands, the place where I was born.
At the front my flat overlooks a great cityscape of The Hague, Netherlands, where I live. Already used as a styled (roundism) background in my oil painting ‘The Madonna of The Hague (2015)’ I decided to do a small sketch of the same view, now enriched with some extra high buildings like ‘New Babylon’ in the city centre.