Archief voor the '4.bleu series'

Free Lucretia

13 september 2016

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Free Lucretia
tetralogy
4x 80/100cm.
( Blue series)
This timeline can be placed in any order as long as they are placed together.

The concept of 4four paintings are one work, a tetralogy, is now been fully developed.
This allows me to work in one work both completely abstract and figurative.

My new magenta series is transformation.

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the BLEU series

20 april 2016

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Documentary of this series is in progress…
24JUN2016

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The BLUE SERIES
5×80/100cm. oil on canvas
work in progress

The Bleu Series is a series of paintings that you must read from left to right, just as a book. Then you see, the series walks with you through time.
It also tells a story. The story about exploration and violence against woman in painted-art-history. I’m telling this story but in a different way. Lucretia isn’t raped in my painting and Susanna is a place where i having research on this topic.

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In this study left above, i mixed Susanna and the Elders painted by Artemismesia Genteleschi in 1610 and Rembrandt’s Susanna, 1647. when I look at these two paintings I see a very different expression on the face of Susanna. I mixed a male and female version in my study. They take place on exactly the same time! In the canon of masters of painting, only the male version exists.

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This encyclopedia was my fist acquaintance with the history of art. Even though I identified myself with this material as growing up artist, I only realised far after my 20th year of life that there is not one woman is included in this art canon. Now i want to re-create this stories…

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This is a view on the study’s on Susanna and the Elders topic… Its a beginning point because i want to develop this studies into a abstraction.

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Picasso as on of the Elders

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LUCRETIA
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Lucretia
80×100cm. oil on canvas

studies on a detail of the Lucretia painting,
The hand from Tarquinius.
The hand that holds back, all 5 33×48cm, mixed techniques on paper;

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The painting:
(work in progress )
80×100cm, oil on canvas
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The middle painting:
(work in progress)
80×100cm, oil on canvas
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This painting is in the middel of the series. By this canvas i wanted to paint death. Dead of a person by violence but even more: dead of a person.
This series is very much still in progress and also this painting in it.

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Two studies of Susanna’s portrait painted by Atemesia Genteleschi

Suzanna

13 september 2015

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18 portrets of Suzan
33×48cm box with 18 portraits

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Storytelling;
Suzanna and the Elders

the hand that holds back

13 juli 2015

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18NOV
80×100cm oil on canvas

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(the hand that holds)
the hand that moves backwards
33×48cm mixed techniques on paper
18SEP

awebr00ac

(the hand that holds)
the hand that explodes
33×48cm mixed techniques on paper
18SEP
awebs00ai
3AUG

Lucretia
80×100cm oil on canvas
work in progress

awebr00aa1e
( 5NOV)

awebs00ab
33×48cm mixed techniques on paper
Study in progress to figure out the movement in the hand of Tarquinius. I want to figure out my very own imagination of movement of the hand. In this painting = hand = hold = hold the action of raping and let go of Lucretia.

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33×48cm
mixed techniques on paper
study to figure out the movement in the hand of Tarquinius.

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mixed techniques on paper
study to figure out the movement in the hand of Tarquinius.

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mixed techniques on paper
study to figure out the movement in the hand of Tarquinius.

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TARQUINIUS

I mirrored the position of the studies on Tarquinius in the exact same position as Rembrandt’s Lucreatia.

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study
33×48cm mixed techniques on paper

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study
33×48cm mixed techniques on paper
(not good)

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study
33×48cm mixed techniques on paper

This is a persiflage of the tv program ArtMEN. This work is about the male dominance in dutch ( art-) TV.

Click right above on chapter caravaggio serie 1 to see the whole series ore here below

LUCRETIA

12 juni 2015

awebs00zi

80×100cm, oil on canvas
(work in progress)

This painting splits the story of Lucretia. Lucretia is painted at the left site, the right site is about the raper of Lucretia; Tarquinius. In the middle of the painting there is a blocked TV screen. This TV screen is forced by one corner into Lucretia. Lucretia’s body is wrapped apart and pierced by some sharp blades.

With Tarquinius there is less figuration but very clear are his two right hands. In one hand he holds a knife and the other hand is making a sign. The sign means hold. Hold the action in this story; hold the rape. No rape. Penetrate yourself is written very small in the right corner somewhere. The hand in the middle, is the only interaction between Lucretia and Tarquinius in this painting.

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Left above Lucretia the letters FILM are painted. Film is a second way of pointing out the meaning of the blocked TV screen. The surrounding were this story takes place is abstract; it became a story by reading a book, looking at painting, film ore tv. Right now, no rape actually takes place, we are looking at a painted story of thousands Lucretia’s.

In this image of the painting there is a little try out with the central hand.

The hand holding the knife and the hand with the hold sign are both right hands. That means two different situations in time. These are two given possibilities;
1. Hold the action in this painting ( in the story )= no rape
2. Penetrate yourself Tarquinius = no rape

The painting itself is looking back to us by two black square eyes in the background.

Click right above on chapter caravaggio serie 1 to see the whole series

LUCRETIA work in the beginning of progress

16 april 2015

awebs00y1
29APR
80×100 oil on canvas

Can painting change history?
History is done. But experiencing history right now is no history. In my painting about Lucretia i invited Duchamp as attacker refer to his work ‘1.The Waterfall 2. The Illuminating Gas 1946-66. This work seems to me pointing out a sexual murder scene. ( is Duchamp murderer ore just the director of this murder scene. What were his intentions of making this peace of Art)?

History is done, what access do we have on history?

awebs00s
17APR
80×100 oil on canvas

A new painting in this ‘caravaggio series’ called: No rape of Lucretia, with subtitle: ‘Penetrate Yourself’ In my painting the raper disides not to rape Lucretia. Does he have to penetrate? Can he penetrate himself?

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80/100cm oil on canvas
(just the first stage…work in progress)

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collage, 33/48cm mixed techniques on paper
The blocks became a TV screen in the middle of the painting. Film in Painting. Then this painting became about “painting” in general. Beautiful because this series(Carravagio Series) was already about time.

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oil on panel
33/48cm
Inspired with a film i saw in Berlin of Anri Sala: Dammi i Colori (2003)
My little painting has this fantasy to be a road-map in Albanië…

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not one woman, all men in the canon of early classical painting. Women are invisible in this encyclopedia. Could the stories and the images be the same as the proportions of a 100% - 0 % were different?

( my reaction: i started to change gender in painting classical stories all the time and also my own gender identification when i paint)

It is really special, worthy of celebration, that you have now a day great woman in painting.

she-killing

23 september 2014

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23SEP
de ’she-killing’
meerluik
80×100 cm c.Oil op linnen

Het drieluik, zoals het nu is (onderste afbeelding), formaat veranderen?
Het rechter-raam te verbreden zoals boven maar een nieuw idee is een enorm lang schilderij ernaast te maken… Efin, het prikkelt tot ruimtelijk werken.

Het mooie eraan is, dat mijn keuze valt op een verticale ontwikkeling. Dus niet 1 stijl-kunstenaar die een eigen stijl uitwerkt maar een schilder die door de tijd probeert een andere lineaire lijn te leggen. Zowel de lijn van de persoonlijke ontwikkeling gaat ook de lijn van de kunstgeschiedenis door me heen.

klik rechts op Carravagio serie 1 om de ontwikkeling te bekijken…

she-killing

18 juni 2014

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22SEP
Overweging of het rechter doek niet 2 x zo lang gemaakt moet worden….

14 juni 2014

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geweld

2 april 2014

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4JUN
eenzelfde doek, verschillende stadia’s
80 x 100 cm.
De stadia’s op een rijtje helpt enorm.
Bovenste 2 zijn van een projectie op het doek geschilderd, overgeschilderd omdat ik toch geen projectie wilde. Dan daaronder alle voorafgaande stadia tot aan de huidige.

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2APR
3 doeken van 80 x 100 cm in progress, olieverf

Deze serie gaat over geweld. Geweld tegen een vrouw. Het linker schilderij was eerst. Dit is na geschilderd van de ‘Doornenkroning’ van Caravaggio maar Christus is als vrouw geschilderd. In het schilderij in het midden is het beeld vertaald naar mij in deze tijd. Geïnspireerd door Bacon maar ook om andere redenen werd het een drieluik. Geen triptiek want mijn drieluik is een tijdlijn. Het zou ook een vierluik kunnen worden bij wijze van spreken.

29AUG nu denk ik, waarom zou je over geweld schilderen en geweld herhalen? De canon herhaald, almaar weer….

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In eerste instantie wou ik in deze serie het middendoek gekanteld schilderen zoals boven op het grijze plaatje maar toen leek me een tijdlijn veel interessanter.
Bijvoorbeeld; het linker doek is nét het moment voor de fatale doodslag - het middendoek (in progress) is het moment van sterven - rechterdoek mogelijk erna

awebv83h
33 x 48 cm
gevecht
olieverf op paneel
… nog lang niet af.
(doet me sterk denken aan de overval op de juwelierszaak in Deurne)