Leidschendam – 21-04-19
Today I went to Amsterdam to see Rembrandt’s etchings and on my way how I stopped in good ol’ Leidschendam at the Sluisjes where I quickly sketched this view with ‘De Peperbus’ (an old church) in the background.
Today I went to Amsterdam to see Rembrandt’s etchings and on my way how I stopped in good ol’ Leidschendam at the Sluisjes where I quickly sketched this view with ‘De Peperbus’ (an old church) in the background.
The first great day of Spring has arrived and my mood for landscape painting and drawing still is growing.
I am in a spring kind of mood and since my last drawing I see more blossoms although real fine weather is only due for next week.
The Vossendijk is the place where I was born, situated in Nijmegen, Gelderland, Netherlands.
Last weekend I was walking through Veere at Zeeland, Netherlands, a little pittoresque town. I returned to my car when I saw the sign ‘city wall tour’ and I decided to take that one and then, when I climbed onto them, I saw this great composition that reminded me of Caravaggio’s ‘Descent from the cross’, a perfect staircase composition – triangles within one big triangle.
This drawing is a protest and and prestudy altogether. The latter for the sake of a bigger painting and the first because I need to be more clear about nudity once again.
The sheets on my duvet on which my model lay show nice checkered patterns. Her body contrasted them quite nicely and I decided to exploit this to the max.
This drawing is to celebrate human achievements and imagination in particular. To see one thing in another is something very real, surreal and metaphysical altogether.
Last year I was walking through sunny Voorschoten, a town in the north to where I live.
This drawing is to celebrate the holy bond between the artist and his model.
After my last drawing ’11 bestialities – 09-02-19’ I got the hang of it and decided to do once more.
One thing in another. I try to see it all the time. Sometimes I fail, another time I see more clearly.
The reference picture I used I took last year at the brink of spring.
Mira (2019) (sold) A commission for a drawing of a young woman that I already painted 9 years ago. Then a teenager, now a young
Some time ago I saw underwater excavation pictures of Heracleion, an ancient Egyptian city submerged.
Last August international dancer and model Julia Gómez Avilés came over to my studio where we, together with fellow artist Julia Filement, had a wonderful live session.
In my egyptian series I try to excavate treasures from the past.
My Egyptian series is an addition to my ‘j’accuse’ painting ‘The Revelation of Bettie Page’. My New Year’s resolution for this year: I dare all algorithms of social media scanning the internet for nipples like the Matrix’s sentinels for Neo.
When I saw the reference picture I was inspired to turn the model sitting in a bath with lots of foam around her,into a donkey milk bath with Cleopatra in it for the sake of my Egyptian ambition.
I liked the triangular position of the model’s body and put her in an Egyptian scenery, thinking of my roundism style relating to hieroglyphics and Egyptian arts in general. I always liked the intense need for styling and I consider the depictions of the human body by the old Egyptians to be one of mankind’s greatest achievements.
The third art work in my new series on Egypt. I experimented with my personal style ‘roundism’ in combination with realism and surrealism.
When I go to teach at Studio Brugman, atVoorburg I often come across The Dome (De Koepel), situated in the middle of estate ‘Vreugd en Rust’.
Last year I was at Oudaen, a city castle at Utrecht, Netherlands which now is a crowdy hotspot for party people. I was dining near the window in the corner with hundreds of people around me but a single cat was lying quietly by the window.
Today I told some students that creating art is seeing one thing in another.
The reference picture I used was slightly different from the one I used for ‘The revelation of Bettie Page (2018)’.
I found this picture of Jenna J. Ross on Instagram and I liked it a lot.
This drawing is all about the aquatic qualities of the body of a woman.
When I was looking at the reference picture of Angie Dickinson my colleague at Studio Brugman, Gilbert said her face looked almost chiseled like a statue.
Last week I went to visit Museum Kranenburgh at Bergen, Noord-Holland, Netherlands.
I was going to name this drawing ‘Heavenly Body – 17-10-18’, ‘Across the Universe’ after the Beatles song
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