Vintage 1965 JEANNE OOSTING \'Autumn\' Fruit MODERNIST Still Life LINOCUT - Listed
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Vintage 1965 JEANNE OOSTING \'Autumn\' Fruit MODERNIST Still Life LINOCUT - Listed:
$375.00
ORIGINAL 1965 JEANNE OOSTING (1898-1995) \'AUTUMN\' SIGNED LINOCUT IN 5 COLORS This is just a great original piece. For those not familiar with the artist, her biography is listed below. This is a really wonderful piece. It is so good it is actually in the Smithsonian Museum of American Art and you can see it on their website. A stunning large linocut in 5 colors of fruits and vegetables. Image measures 13 x 24 inches on sheet measuring 18 1/2 x 28 1/2 inches. Print is signed, numbered and titled in pencil below the image. A crisp colorful impression in outstanding condition. Original strong colors. Very clean. It is the original matte and frame. The matte is not archival and looks as though it has left a minor matte burn around the outer edges. Print shows some rippling and is not laid down. Matte shows some discoloration. Wood frame is complimentary and ready to hang. Verso is the original label from when this was purchased in 1965 that gives the details of this print and the artist\'s biography. Do your own research on this print. A rare work by an important Dutch artist. Frame measures 21 3/4 x 31 3/4 inches. For those not familiar with the artist, her biography from her foundation reads: \"Jeanna Bieruma Oosting was born in Leeuwaarden in 1898, scion of a family of Frisian nobility and aristocracy. The area around Heerenveen where she later spent part of her childhood still retains the atmosphere of rural aristocracy. A visit to the Museum Belvédère still brings that feeling close. Her particular talent revealed itself early. Her first art teacher meant a lot to her, but she came to what hit her training was at the infamous railway accident in Weesp in 1918. from: chart at Jessurun the Mesquita in the Haarlem School of Applied Art, model drawing at the Hague Academy and private lessons with Willem van Konijnenburg . By the latter they would have met a rigorous academicism, but his aversion to the pernicious modernism would not have helped her further. A portrait as a child Jan Toorop drew her does even suggests other relationships and influences. The greatest significance for Jeanne\'s formation are undoubtedly her years in Paris. Encouraged by the sculptor Charlotte van Pallandt she went where she spent eleven years in Paris in 1929. It must have been years of tight social existence because of her house was still withhold aid and pain efficacy, but also intensive experience of the overwhelming big city. Friendship and fellowship she found in the circle of Conrad Kickert, featuring Wim Oepts and Gerard Hordijk. Her lithographs from those years she spent in a large number of folders, whose titles are revealing: Solitudes, Visions et Fantômes, L\'amour et la mort, Rêves et Réalités, L\'Opera, Les Fleurs du Mal. They are large format scenes of dim, romantic nature, sometimes with a dramatic atmosphere that is unique in her oeuvre. As a painter she starts to fall and also exhibits in the Netherlands in various salons. In 1937 she won a prize at the World Exhibition in Paris. The relationship between this work and other graphic works from those years is remarkably low: the etchings that she made in the studio of Stanley Hayter have a completely different character. The etching technique was practiced there in a very unconventional and experimental way, incisive in the plate with surprising effects, thought from the matter of metal and paper. In the small etched Still, akin to George Braque, she shows herself, more than anywhere else in her work, susceptible to the modern trends of the early twentieth century.
Dan approaches the Second World War, and Jeanne returned to the Netherlands, where she settles in Jordan, and since 1968 in the house at the Oosterpark where such a large part originated from her later work. Since getting contemporaries, including writers of this, more insight into her person, work and artistic Environment. Her memberships Arti, the Dutch watercolorist Circle, Graphic, and the Dutch Society of Illustrators, give her frequent opportunity to exhibit. she is present at the general meetings, she is already active during the meetings, the organization of exhibitions, and the openings of the exhibits, and is more than able to express its opinion or judgment necessary bluntly. She is sharp and alert, but also very Fideel in its peer praise. Her presence is prominent, her diction is staccato and, as her handwriting, rushed. She is very busy, but efficient in its use of time ( \"Call me in the morning before eight, otherwise disturb \'t in work\"). Evenings are for opera, music and theater. Her attitude to life, there is a positive activity. This also occurs clearly the day in her correspondence with Ida Gerhardt who so envied her and whose wrath stands there. Jeanne Bieruma Oostings oeuvre since the forties shows a fairly homogeneous image and is best known. It has an airy and not very specific. To call it impressionistic cargo would not fully cover. It is impressionistic in the sense that almost everything is made from direct observation, but without the fundamental consequence of the historical Impressionism-with-a-capital. This is its institution to open-minded and devoid of logic. This also has to do with its theme: close to home. The view of the Oosterpark, garden Almen where she has her country house, the interiors with the familiar furniture of the window, the vases of roses from the garden. The color is brilliant, the presentation smoothly. Jeanne was sloppy? Sometimes, but fairer to speak of a certain nonchalance in haste. However, a conscious discipline can properly do its job. This is evident from the strong design of the bookplate she made, but even more clearly from the two series of stamps - baby seals and Dutch costumes - which she designed in 1946 and 1960 respectively. But the portraits from the twenties and thirties, as represented in the Municipal Maassluis collection bear witness to this. Probably two factors that had a hand in: the New Objectivity in Germany and perhaps from Dutch corner, as well as the neo-conservative classicist flow from those years, which some rest in European painting brought after the tumultuous violence of the early the twentieth century.
That violence is ignored Bieruma Jeanne Oosting, like cubism that reflects its most in weakened form of a Derain or Suzanne Valadon. The latter name comes up at the sight of her series of female nudes in lithography, published under the title Chairs (1931) in Paris time. These prints are just little romantic, but strong and tough and carelessness seems no question. Her work has surprisingly many aspects that are not mentioned here all long. Jeanne Bieruma Oostings interest and participation in the art world will later, after her death in 1994, illustrated by those it bequeathed works of others, purchases that they should have done over a long period and which reflect her preferences. Insofar as her peers respect that works by Jan van Heel, Dirk van Gulik, Kees Verwey, Theo Kurpershoek Joop Sjollema (which it also portrayed), Herbert Fiedler, Jan Wiegers, Theresia van der Pant, Charlotte van Pallandt, Bob Buys, Ina Hooft and Lena Loopuit. Personally seen anything further from her, she bought work by Picasso (etching from Vollardsuite), Toulouse Lautrec, Kokoschka, Käthe Kollwitz, Stanley Hayter, Chagall and Redon. Almost all of these works are saleed after her death or sold by art dealers benefit from the ability of the Jeanne Oosting Foundation. A life for art was the rightful title of an exhibition at Arti et Amicitiae in 1988 which Jeanne participated, along with 22 other artists of the same generation and equally animated by unquenchable equal efficacy. Based on her idealism and commitment, and for bestowing on her ability, she called in 1970 the annual Jeanne Oosting Prices for figurative painting and watercolor art in life. Meanwhile can look back on four decades pricing policy and know eighty artists are supported by her and encouraged. And many will have topped it in the future to think of her with respect and gratitude.\"
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Vintage 1965 JEANNE OOSTING \'Autumn\' Fruit MODERNIST Still Life LINOCUT - Listed:
$375.00