词条 | Jaap Schreurs |
释义 |
| name = Jaap Schreurs | Born = The Hague, Netherlands | image = Jaap_Schreurs_passport_photo.jpg | image_size = 150px | caption = Passport photograph of Schreurs | birth_name = Jacobus Schreurs | birth_date = {{birth date|df=yes|1913|11|19}} | birth_place = The Hague, Netherlands | death_date = {{death date and age|df=yes|1983|2|16|1913|11|19}} | death_place = Utrecht, Netherlands | nationality = Dutch | field = Painting, drawing, printmaking | training = Jacobus Lambertus Keizer (father), later Christiaan de Moor and Francis de Erdely; Royal Academy of Art, The Hague and the Free Academy of Visual Art, The Hague | movement = neo-figurative | works = | patrons = | awards = }} Jaap Schreurs (19 November 1913 in The Hague – 16 February 1983 in Utrecht) was a Dutch painter and graphic artist in the neo-figurative style. LifeSchreurs was born as Jacobus Schreurs in The Hague, Netherlands, to Jacobus Lambertus Keizer and his common-law wife Nelly Schreurs. His father was a painter in the style of the Hague School. As a child, Jaap often accompanied his father when he went into the countryside to paint the Dutch landscape, and he let the child have a go at it too. In his teens Schreurs joined a group of boys who went to the polders for the day, painting and drawing. Afterwards the boys' efforts were seriously examined and commented on by Jaap’s father, who insisted on the importance of perfection and professional skill[1][2] .[3] In his adolescence Schreurs lost the sight of his right eye.[4] From then on he had to live without the ability to see depth and perspective. He studied at the Royal Academy of Art and the Free Academy of Visual Art in The Hague.[3][5] His teachers were Christiaan de Moor and Francis de Erdely.[2] After he had finished his studies, he installed himself as a professional painter, and led the life of a poor but hard-working artist. During World War II he had to go into hiding because he refused to sign the so-called ‘declaration of Aryan descent’ (‘Ariërverklaring’), which the Nazi racial policy required from every artist. From that moment on, he was punishable by law. Schreurs moved to Utrecht in the early 1950s. He led a rather secluded life and refused to become a member of an art society or to conform to any contemporary school of painting. He wanted to develop his own style independently and had no ambition to become a career painter. He also declined the BKR artist subsidy and its forerunners the Dutch state granted to artists from 1949 onwards because he objected to such subsidies in principle. In 1983 Schreurs died of a cardiac arrest. LegacyUpon his death he left behind over a thousand paintings, gouaches, drawings, etchings and linocuts.[6][7][8] His relatives consulted eight experts from prominent Dutch museums, art magazines, and auctioneering firms. These unanimously judged the quality and originality of the work positively; many pieces were judged to be of museum quality. They advised prudent and professional management of the collection. The legacy has been catalogued and can be viewed on a website (see external links below). Painting styleInfluencesSchreurs’ style has been visibly influenced by three factors, namely
ChronologyAlthough Schreurs only rarely signed and dated his works, Quarles van Ufford shows that the oeuvre can be roughly divided into three periods, each with its own characteristics.[3]
GraphicsDuring the last twenty years of his life Schreurs possessed an etching press. He liked experimenting with all kinds of unusual materials in order to create special effects. His graphic oeuvre runs to nearly four hundred pieces and shows a great variety of themes and styles.[3] Exhibitions (a selection)
References1. ^1 Baart-Heringa, Th.E. (1992), Jaap Schreurs 1913 – 1983. The Legacy of a Versatile Nonconformist. Amsterdam: Jester Art Gallery. 2. ^1 2 Lint, Peter van (1992), ‘The eloquence of Silent Protest/De welsprekendheid van het zwijgende protest’. Opening speech exhibition Jester Art Gallery, Amsterdam. www.jaapschreurs.com/geschrevenoverhetwerk 3. ^1 2 3 4 5 6 Quarles van Ufford, Adrienne (1996; 2016), ‘Het binnenste buiten. Een overzicht van het oeuvre van Jaap Schreurs’ . Guus van den Hout (ed.) Jaap Schreurs: The vulnerability of existence/De kwetsbaarheid van het bestaan. Eindhoven: Timmer Art Books/Lecturis, and Vernissage Art Magazine 3, 7, p.38-9. 4. ^1 Lanthony, Philippe (2016), ‘Jaap Schreurs as a monocular painter’. Guus van den Hout (ed.) Jaap Schreurs: The vulnerability of existence/De kwetsbaarheid van het bestaan. Eindhoven: Timmer Art Books/Lecturis. 5. ^Soestbergen, Annemiek van (2000), ‘Jaap Schreurs, een schuwe schilder met zinderende zeggingskracht’. Tijdschrift Museum Amstelkring, Amsterdam, 2000. 6. ^Almering, Lisette (2015), ‘Vanuit divers perspectief: Het oeuvre van Jaap Schreurs (1913–1983), ‘schilder van het diepere leven’. Psyche & Geloof, 26, 1, 2015, p. 62-65. 7. ^1 2 Hout, Guus van den (ed.) (2016), Jaap Schreurs: The Vulnerability of Existence/De kwetsbaarheid van het bestaan. Eindhoven: Timmer Art Books/Lecturis 8. ^Reporter (1983), ‘Unieke collectie schilderijen in Utrecht ontdekt’. Algemeen Dagblad, April 26, 1983. 9. ^Haeften, Chris van (2016), ‘Through the Eyes of Jaap Schreurs’. In Guus van den Hout, (ed.) Jaap Schreurs: The Vulnerability of Existence/De kwetsbaarheid van het bestaan. Eindhoven: Timmer Art Books/Lecturis. 10. ^Lanthony,P. (2009) Art and ophthalmology. Amsterdam: Wayenborgh-Kugler Publications. 11. ^Gruyter, W.Jos de (1944) ‘Hedendaagse kunst’. In: NRC July 20, 1944. 12. ^Koning, Johan (1944) ‘De Nederlandse cultuurweek’. Haagsche Courant, July 14, 1944. 13. ^1 Kuyvenhoven, Fransje (2007) De Staat koopt kunst. De geschiedenis van de collectie 20ste-eeuwse kunst van het ministerie van OCW 1932–1992. Amsterdam/Leiden: ICN/Primavera, 2007, p. 145. 14. ^Niehaus, Kaspar (1944), ‘Hedendaagse kunst in het Rijksmuseum’. Telegraaf, July 22, 1944. 15. ^Voskuil, Jan D. (1944), ‘Tentoonstelling Rijksmuseum’. De Schouw, August 1944. 16. ^1 Es, Jan van, (1994) ‘Verrassende wendingen in het schilderwerk van Jaap Scheurs’. Woerdense Courant 1994. 17. ^Gemeentemuseum Den Haag (2012), Liefde. Zwolle: WBooks, p. 402-3. 18. ^Reporter (1957), ‘Werk van Jac. Schreurs en K. Noorhoff’. Utrechts Nieuwsblad, May 3, 1957. 19. ^Keita, Fatou (1993), ‘Jaap Schreurs ou l’éloquence de la protestation silencieuse’. In: New Horizon, nr.8, p.28-29. 20. ^Laansma, Klazien (1994) ‘De eeuwige vragen van Jaap Schreurs’, opening speech at the retrospective exhibition in Stadsmuseum Woerden (Netherlands). www.jaapschreurs.com/geschrevenoverhetwerk 21. ^Fink, F.G. (1995) ‘Jaap Schreurs: Aan de voeten van het kruis.’ Steensma, R. (ed.) Jezus is boos. Het beeld van Christus in de hedendaagse kunst. Zoetermeer: Boekencentrum, p. 134-5. 22. ^Lange, Frits de (1995) ‘Christus, gered van de dood in de religie’. Steensma, Regn. (ed.) Jezus is boos. Het beeld van Christus in de hedendaagse kunst. Zoetermeer: Boekencentrum, p. 9-21. 23. ^Smolders, Rob (1995) ‘Het ongebroken geloof in nieuwe beelden.’ Steensma, Regn (ed.) Jezus is boos. Het beeld van Christus in de hedendaagse kunst. Zoetermeer: Boekencentrum. 24. ^Werf, Judith van der (2010), ‘Judith in gesprek met Jaap Schreurs’. Mensen, Magazine IKON, 3, 2010, p. 8. 25. ^https://zomerexpo.nl/algemeen/de-kunst-en-de-liefde/ External links
5 : 1913 births|1983 deaths|Dutch artists|20th-century Dutch painters|Dutch male painters |
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