the slow triumph of death (miscellaneous 2, see `way of working')

`the triumph of death' is an old medieval/renaissance theme, mostly in painting and etching/drawing. the theme, also known as danse macabre, embodies that we are all mortal, and as such no earthly difference in status, riches, piety, conduct will help anyone to escape death.

i've made a small construction-sculpture on the same theme (with a sidewise reference to damien hirst's `for the love of god' although lacking false modesty i really consider the below work to have more depth, irony and all):


the slow triumph of death (own work, 2010-2011, 30 x 15 x 30 cm, click on the image for an enlargement)

the sculpture contains various ways in which we meet our end...;-) (largely invisible, on the other side there is a pink cadillac-like car)

of course, a completely brilliant version of this theme by pieter brueghel the elder cannot be left out:


pieter brueghel the elder, the triumph of death (1567, click on the image for an enlargement)

this has to be one of the alltime masterpieces of western art, even though its subject is not so cheerful... which then explains why i added a large dollop of ironic humor to the sculpture above ;-)

pink elephant (miscellaneous 1, see `way of working')

pink elephant (own work, 2010-2012, 32 x 48 cm, click on the image for an enlargement)

so, as illustration of this way of working, i'm putting up a series of recent stuff, with a few comments. the above drawing serves to illustrate the power of the subconscious...since i have little conscious knowledge of what an elephant looks like. but i felt like drawing an elephant, and since i know it's better to let the hand lead...i stopped thinking about it and just drew.

then, finally, i added some photoshop touch to the background.

to me it seems that digital influence on hand-created works and vice versa, is a promising field. but usually i'm inclined to not use digital enhancements, or only very sparingly. however, there have been a number of designs where there was a cycle: drawing, photoshop, printing, drawing,... yielding very nice results.

so although i'm very traditional by most standards, i like to use digital techniques also (limited as my skills may be).

way of working, paul klee

paul klee, embrace (click on the image for an enlargement)

so what does an artist do, when (s)he's working?

it's not so easy to describe, and very different for different artists too, i suppose.

for me, it consists of many different activities. mostly, there are multiple works waiting for further improvement. any of these works might call for my attention, and i start working on colour, image, composition,...

or i might start a new work, depending on some inner inspiration/drive which is hard to pin down. or i might decide to practice some technique or detail. or i might decide to experiment with some technique or detail. or i might decide to sit and think about what direction to take in the works to come.

i try to force myself to take breaks...but in my studio this can be a problem because everywhere there are questions waiting to be addressed.

one artist who i imagine worked like this also, judging by his diverse oeuvre, is paul klee. since he is one of my alltime favourite artists, i'm not inclined to change my way of working very radically.

from wikipedia:

Klee has been variously associated with Expressionism, Cubism, Futurism, Surrealism, and Abstraction, but his pictures are difficult to classify. He generally worked in isolation from his peers, and interpreted new art trends in his own way. He was inventive in his methods and technique. Klee worked in many different media—oil paint, watercolor, ink, pastel, etching, and others. He often combined them into one work. He used canvas, burlap, muslin, linen, gauze, cardboard, metal foils, fabric, wallpaper, and newsprint.[56] Klee employed spray paint, knife application, stamping, glazing, and impasto, and mixed media such as oil with watercolor, water color with pen and India ink, and oil with tempera.[57]

He was a natural draftsman, and through long experimentation developed a mastery of color and tonality. Many of his works combine these skills. He uses a great variety of color palettes from nearly monochromatic to highly polychromatic. His works often have a fragile child-like quality to them and are usually on a small scale. He often used geometric forms as well as letters, numbers, and arrows, and combined them with figures of animals and people. Some works were completely abstract. Many of his works and their titles reflect his dry humor and varying moods; some express political convictions. They frequently allude to poetry, music and dreams and sometimes include words or musical notation. The later works are distinguished by spidery hieroglyph-like symbols. Rainer Maria Rilke wrote about Klee in 1921, "Even if you hadn’t told me he plays the violin, I would have guessed that on many occasions his drawings were transcriptions of music."[14]

Pamela Kort observed: "Klee's 1933 drawings present their beholder with an unparalleled opportunity to glimpse a central aspect of his aesthetics that has remained largely unappreciated: his lifelong concern with the possibilities of parody and wit. Herein lies their real significance, particularly for an audience unaware that Klee's art has political dimensions."[58]

there are some striking similarities with my own approach to art...so there is hope yet ;-)

of human relations 4: drawings from my sketchbooks

[repeated: `as i said, i'm looking for new ways to visualize human relations, feelings, real-life struggle as well as uplifting moments. looking back on centuries of art, i find myself surprised that there is so little art which addresses this in a way that i find provoking, uplifting, inspiring.

this gives new motivation to continue my investigation. i feel sure enough of the emotive strength of the drawings which come up in this sense. and this translates into paintings as well. but enough words, the images themselves should be stronger.']


sleeping woman (own work, 2010, 10 x 15 cm, click on the image for an enlargement)


fighting in the street (own work, 2010, 10 x 15 cm, click on the image for an enlargement)


compassion (own work, 2010, 10 x 15 cm, click on the image for an enlargement)


grief and comfort iv (own work, 2012, 20 x 25 cm, click on the image for an enlargement)

of human relations 3: drawings, drawings

[repeated: `as i said, i'm looking for new ways to visualize human relations, feelings, real-life struggle as well as uplifting moments. looking back on centuries of art, i find myself surprised that there is so little art which addresses this in a way that i find provoking, uplifting, inspiring.

this gives new motivation to continue my investigation. i feel sure enough of the emotive strength of the drawings which come up in this sense. and this translates into paintings as well. but enough words, the images themselves should be stronger.']


self-portrait as a mother worried about her children (own work, 2012, 30 x 36 cm, click on the image for an enlargement)


rejection (own work, 2012, 21 x 20 cm, click on the image for an enlargement)

for the next image, also see the post on notre dame des anges:


seigneur notre retraite (in brown-red) (own work, 2011, 30 x 40 cm, click on the image for an enlargement)

another theme that crops up ever more frequently: the people who do not fit well into our `wonderful' society. sure, they are the misfits, so to say. but who is the more crazy, he who accepts this crazy world, or he who does not fit in? if you have read my previous posts, you will know that i for one cannot simply answer that question. and my concern and sympathy are often with the misfits, and my anger is often directed at all the `respected' institutions which together comprise the status quo in our society.


woman out of kilter (own work, 2011, 20 x 28 cm, click on the image for an enlargement)

i think emotive expressive power comes from the eyes, the face, the body language...and the materials and techniques used. this is what i study on, laboriously, and much unappreciatedly...but the time of appreciation will come, i suppose, once enough people see the works and enough time has passed for them to compare this avenue of art to other avenues. anyway, if you see any art touching on the same themes, please let me know, since it would be inspiring to me to know other artists with a similar outlook.


detail of woman out of kilter (own work, 2011, 20 x 28 cm, click on the image for an enlargement)



taking care of the psychiatric patient iii (own work, 2011, 21 x 30 cm, click on the image for an enlargement)



grief and comfort iii (own work, 2011, 21 x 30 cm, click on the image for an enlargement)



self-portrait in orange unrest (own work, 2011, 21 x 30 cm, click on the image for an enlargement)



man, lost in thoughts and orange background (own work, 2011, 30 x 36 cm, click on the image for an enlargement)


st. frances posing (own work, 2011, 30 x 35 cm, click on the image for an enlargement)


woman in white bra (own work, 2012, 30 x 40 cm, click on the image for an enlargement)

of human relations 2: in the family bed

as i said, i'm looking for new ways to visualize human relations, feelings, real-life struggle as well as uplifting moments. looking back on centuries of art, i find myself surprised that there is so little art which addresses this in a way that i find provoking, uplifting, inspiring.

this gives new motivation to continue my investigation. i feel sure enough of the emotive strength of the drawings which come up in this sense. and this translates into paintings as well. but enough words, the images themselves should be stronger. (also see the next post, for more drawings)



in the family bed (own work, 2011, 80 x 110 cm, click on the image for an enlargement)

nudity, nudity in art, violence & societal hypocrisy 2

in the previous post, i wrote from the premisse -for the time of that post being, for the sake of argument- that there is a proximity of nudity and sex.

however, this proximity is largely fueled by our own society's prudishness. in many more cultured `primitive' societies (in a warmer climate than our dutch one, i admit), nudity is/was a normal state of affairs, and not associated with sex at all.

this phenomenon can be easily observed for oneself, by visiting a sauna (in our parts of the world, people are generally naked in the sauna) or a nudist beach or similar. when everyone is naked, nudity quickly becomes normal, and the sexual part of it diminishes rapidly.

there is another effect of nudity which then becomes clear (when we have stopped associating it with sex). namely, nudity often dissolves status. nudity often dissolves power. we are all equal animals, under the naked sun.

yet many people are embarrassed by nudity, be it nudity of others or their own. this again in my eyes has largely to do with society's strange norms on beauty, ideal body proportions, sex, but also on openness, vulnerability.

&&&&&&

we dress up, to cover ourselves. cover your ass...this expression is not coincidental. and `cover your ass' in my eyes is a very big contributor to the sabotage of societal change and improvement. when searching for `cover your ass', observe that google does not auto-suggest this search term...because ass is considered a possibly offensive word by google...how hypocritical can we become?

conversely, when we are naked, we become ... in a sense open, unveiled, unthreatening, vulnerable, power-less, unequipped for violence, status-less, unmarked by social/societal trappings,...although of course we are then clearly man or woman.

but look around you, in our dressed world. is not everybody almost immediately distinguishable as man or woman? we seem to think this a very important distinction, and whole marketing campaigns are based on this difference. actually, our society is almost obsessed with sex and gender difference to the point of mental ill-health. certainly when you compare it to many of the easy, uncomplicated `primitive' societies i mentioned earlier.

so this is where our hypocrisy becomes clear. we are obsessed, as a society, with sex and sexuality...but we frown upon nudity, and google's safe search and search-suggestions shows that we actively try to maintain this situation in which nudity is charged...perhaps BECAUSE we wish to keep it charged, because of our fixation on sex.

&&&&&&

can there be a more innocent scene than naked children playing on the beach? however, things have gone so far that an artistic photographer will scratch his/her head twice before displaying pictures of naked children...because almost certainly someone will cry: abuse! porn!

but the world press photo award invariably goes to a photographer who has managed to capture a moment of great human tragedy...often extreme violence due to war, terrorism,...

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this is the sad sad situation in which i find myself as an artist. for years and years, nudity didn't interest me very much, because i saw it as a cliché. in classical art, i often saw nudity which struck me as artificial, maybe even as a cover-up for erotic desires without daring to be explicit about those desires. in more modern art, i saw a lot of nudity which struck me as a cliché also, in its (perceived by me) intent to shock, or to show the daring of the artist, or ...

but lately i have come to realize that all these so-called liberations of the sixties and seventies and... haven't liberated us in the least. not really.

in a society liberated from this sex-obsession, nudity would not be such a problem. and sexual violence would be virtually absent. sexual violence in our society occurs appallingly frequently, but of course no one talks about it.

%%%%%%

and what about sexual exploitation? in our society this is extremely appalling also. the scale of sexual slavery in prostitution-related business is truly shocking. in this, our own oh so `developed' society. and nobody talks about it. we have `liberated' tv-shows, in which mostly youthful people show any body part in any situation...mostly under influence of a lot of alcohol or other drugs. but it is a rare occasion indeed to see a documentary on the sexual slavery involved in prostitution-related business.

§§§§§§

so, you tell me why i'm finding myself reconsidering nudity as a cliché. i recently posted a painting called `the artist is always naked' which reflects some of this reconsidering. but there are many other connotations, which i find myself drawn to investigate. nudity and innocence, for instance.

on wikipedia, you can also read on nudity and art, and nudity in general. and what about google/blogger/blogspot?

well, i simply consider whatever i post on this blog to be artistic...therefore covered by the exception rule.


the artist is always naked ii (own work, 2012, 21 x 30 cm, click on the image for an enlargement)

and as a reference to the `primitive' society i mentioned:


self-portrait as naked shaman (own work, 2012, 21 x 29 cm, click on the image for an enlargement)