Beschrijving
DESCRIPTION: signed. oil on canvas. Painted circa 1935-1940. The present lot will be included in the forthcoming catalogue raisonné on the artist's work, currently being prepared by the Netherlands Institute for Art History (RKD) in The Hague. EXHIBITED: The Hague, Gemeentemuseum van ’s Gravenhage, Jan Sluijters, December 1941-January 1942, no. 20. CATALOGUE NOTE: The female nude is an important theme in the oeuvre of Jan Sluijters. In his earlier work his first wife Bertha Langerhorst and his second wife Greet van Cooten used to pose for him. From the 20’s onwards however, he would work mainly with different models. At that time Sluijters was already a renowned painter and the females would approach to be portrayed by him. In his luministic period one can observe brightly painted ladies who are decorated with red lips, expressive eyes and sparkly jewellery. Their bodies are painted in pink, grey and green, which shows the avant-gardism of the artist. The present lot is probably painted between 1935-1940. One sees that Sluijters continues to use the bright palette which give the body this realistic and lively appearance. In contrast to what he did in his early paintings Sluijters now sets his model against a brightly coloured background. The model is seated on the sofa which he, as he often did, juiced up by placing a colourful grand foulard on it. The contrast of the precisely modelled woman and the impressionistic background is stunning and makes her stand out. Even though Sluijters was a celebrated painter, his nudes did not always stay without criticism. The frontal nudes especially were controversial. In 1911 two works of Sluijters were withdrawn from an exhibition because there were ‘unchaste, offensive and shocking to the public’. Not everybody shared this opinion. This is well illustrated when Sluijters was compared to Rubens because of the strong and healthy sensuality in his nudes. The way Sluijters surpassed the visual side and approached the characteristic side of his models was praised. In this painting, Sluijters conveyed the tender and fragile side of this girl so well with her dark creamy eyes, the soft colours used in her face and her introvert expression. Sluijters uses the touch and palette in a strong and powerful way but portrays his model in a tender and soft fashion. This makes this work very realistic and convincing but even more gives the paining a lot of character. This work was exhibited at the important Jan Sluijters exhibition in celebration of his 60th birthday which was held in The Stedelijk Museum in Amsterdam and then travelled to The Hague at the Gemeentemuseum where this painting was exhibited as number twenty.Details
- Databanknummer:
- 49413
- Lotnummer:
- -
- Advertentietype
- Archief
- Instelling:
- Sotheby's
- Veilingdatum:
- -
- Veilingnummer:
- -
- Stad
- -
- Limietprijs
- -
- Aankoopprijs
- -
- Verkoopprijs
- -
- Hamerprijs
- -
- Status
- Verkocht
Technische details
- Kunstvorm:
- Schilder- en Tekenkunst
- Technieken:
- Olieverf
- Dragers:
- Doek
- Lengte:
- 93 cm
- Breedte:
- 90 cm
- Hoogte:
- -
- Oplage:
Beschrijving
DESCRIPTION: signed. oil on canvas. Painted circa 1935-1940. The present lot will be included in the forthcoming catalogue raisonné on the artist's work, currently being prepared by the Netherlands Institute for Art History (RKD) in The Hague. EXHIBITED: The Hague, Gemeentemuseum van ’s Gravenhage, Jan Sluijters, December 1941-January 1942, no. 20. CATALOGUE NOTE: The female nude is an important theme in the oeuvre of Jan Sluijters. In his earlier work his first wife Bertha Langerhorst and his second wife Greet van Cooten used to pose for him. From the 20’s onwards however, he would work mainly with different models. At that time Sluijters was already a renowned painter and the females would approach to be portrayed by him. In his luministic period one can observe brightly painted ladies who are decorated with red lips, expressive eyes and sparkly jewellery. Their bodies are painted in pink, grey and green, which shows the avant-gardism of the artist. The present lot is probably painted between 1935-1940. One sees that Sluijters continues to use the bright palette which give the body this realistic and lively appearance. In contrast to what he did in his early paintings Sluijters now sets his model against a brightly coloured background. The model is seated on the sofa which he, as he often did, juiced up by placing a colourful grand foulard on it. The contrast of the precisely modelled woman and the impressionistic background is stunning and makes her stand out. Even though Sluijters was a celebrated painter, his nudes did not always stay without criticism. The frontal nudes especially were controversial. In 1911 two works of Sluijters were withdrawn from an exhibition because there were ‘unchaste, offensive and shocking to the public’. Not everybody shared this opinion. This is well illustrated when Sluijters was compared to Rubens because of the strong and healthy sensuality in his nudes. The way Sluijters surpassed the visual side and approached the characteristic side of his models was praised. In this painting, Sluijters conveyed the tender and fragile side of this girl so well with her dark creamy eyes, the soft colours used in her face and her introvert expression. Sluijters uses the touch and palette in a strong and powerful way but portrays his model in a tender and soft fashion. This makes this work very realistic and convincing but even more gives the paining a lot of character. This work was exhibited at the important Jan Sluijters exhibition in celebration of his 60th birthday which was held in The Stedelijk Museum in Amsterdam and then travelled to The Hague at the Gemeentemuseum where this painting was exhibited as number twenty.
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