Mother Nature – 22-01-21
Mother Nature holds many secrets but let me sketch you the following. All of a sudden you spot a naked woman on her own in the middle of a forest. Would you be attracted to her or would you run away screaming?
Mother Nature holds many secrets but let me sketch you the following. All of a sudden you spot a naked woman on her own in the middle of a forest. Would you be attracted to her or would you run away screaming?
After careful considering I chose for a rendering with hatched strokes like I am used to in doing pastels and many a drawing, even though this is the first time in oil.
A couple of years ago I came across a nude photo of Frida Kahlo. I guess she did a lot of experimenting in the roaring 1920s / 1930s. I was intrigued by her body position: reclining and amidst two cats, completely demanding the camera in a relaxed way though.
In November 2018 I started this project after a prestudy in graphite ‘An archeological memory of Bettie Page – 13-11-18’. Since the canvas size of this painting is bigger than the original drawing the balance between main theme (camel, statue and stele) and the negative space around it should show more coherence.
A continuation of the previous painting called ‘The Implicite Order – 20-02-20’, commissioned by an American collector.
This one is the oil version of a previous drawing ‘Roundism – 11-01-20’. The tonal gradients in that drawing subtely shifting, some abrupt some gradient, represent life itself in all its expressions.
This oil painting is based on my drawing ‘Nude – 17-06-15’. An artist often sees one thing in another. Salvador Dali saw a rhinoceros in Vermeer’s Lacemaker. I saw a horse in a women’s thigh.
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.
The brown eyed girl (2018) (sold) A commission for a classic portrait. I focused on
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Some years back I saw an incredible oil painting by Herman Gouwe of a sunset in cyan, yellow, purple and red and I it baffled me. How could bright shining light ever be portrayed better than this.
This oil painting is the final piece on the series of the pastel and graphite pencil drawing on the same theme. I decided to abstract the female figure even more, reducing the oily reflections on her body to cubist planes, creating rhythym and diction of light and dark tones.
Based on two previous artworks: a pastel called ‘Into the light – 15-06-17’ (impressionistic, surrealsitic) and a graphite pencil drawing ‘Roundism – 04-07-17’. I liked both works and took the colour scheme of the pastel drawing in reds and greens but also used the roundism style of the pencil drawing and combine them.
Based on a prestudy in pastel (Model – 01-12-18) I made this painting in oil. My objective was to stay in line with the fauvist colour kind of strokes (in case of the pastel they were pretty much ‘broken’ and ‘open’ strokes / patches) but also to get to a more abstract feel by means of rendering the model slighty cubistic.
This is the painting based on a previous drawing ‘Sans titre – 25-10-16’ depicting Mary Pickford, one of the first female leading ladies in movie history.
A commission for a classic portrait. The young girl, age 3, has beautiful green eyes (hence the title) and was very animated during the sessions, which is fun to watch but difficult to work with as an artist.
This painting is a culmination of all drawing efforts as to the same model pose.
A quick painting I made the morning before afternoon’s workshop ‘painting glass’.
A second painting in the same roundism series, based on the variations on the same theme drawings. In this one I combined cubistic forms with pointillism.
I started this one at Studio Brugman, Voorburg, Netherlands at King’s Day (Koningsdag) last year after the previous two drawings ‘Tree at Voorburg’.
A worked out oil surrealistic painting variation of the last of the ’13 variations on the same theme’ graphite pencil drawing series.
This painting is the culmination of the many previous graphite pencil drawings.
This is the first roundism oil painting I made of American pin-up and celebrity Bettie Page, after a first drawing I made in the beginning of 2015.
Bettie Page is one person I always admired. Not only she is sexy as hell but also because she deared to flirt with her sexuality in an era throughout the world many were prunes (and still are today).
A commissioned piece representing the battle of Bun’ei near Hakata Bay, where Samurai try to stop the Mongols in the year 1274.
The result of so many prestudies in graphite and pastels resulted in the culmination of all efforts into this oil painting. The dimension of colour gives it an extra swirl.
This is the oil version of the prestudy in pastel of Louise Brooks, silent movies actress and flapper girl from the 1920s – 1930s.
vious sketchwork (the birth of new cubism). Rendering cubism in oil gives new ways of depicting the body. This one still is ‘cubism light’ and also can be considered as expres
Moviestar Marilyn Monroe in oil and cubism. I chosed a fairly unknown / at least not iconic picture of her.
A search for capturing a still life in my kind of cubism. For this one I looked closely to Cézanne.
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