The human quest for the origin of life. The closed circle: nature has given people eyes to view, understand and influence the same nature. This theme is depicted in 3 myths from the Greek era and 1 from the early Roman period. An image of nature, science, civil war, sacrifice, conquest, domination, oppression, power, faith and loyalty. References from mythology translates to contemporary reality. History repeats itself: man knows a lot but learns nothing. Fueled by the feeling of Weltschmerz, pollution and war. Discontent with one’s own time and existence in general. The awareness of the incompatibility of reality and ideal. Repetitive elements in the paintings are the eye: man looks at himself through science, the cloud: the disguise of time, the house: time travel and man on horse: man as guardian.
The special feature of this four-part is the application of various painting styles from art history which are the most important for the painter: Impressionism, Renaissance, Surrealism, Cubism and Neoclassicism.
The painter, a very experienced and skilled dutch artist, also wants to make a hard statement with these works against the mediocrity of the contemporary art academy (soulless) and contemporary artists (craftless). Each painting took an average of one year to complete, including preliminary study. The paintings were created in the period between 2006 and 2009.
Acrylic on canvas
290 x 135 cm
2006
This painting is the first in a series of three about Greek gods and myths.
The painting shows the supreme god Zeus in disguise (the cloud) in an uninhabited earthly landscape. The impressionistically painted landscape with surreal elements. These elements (man with red cap) as a representative of the quest of man and science (floating house) and the human need to explore and understand life on earth) These elements recur in 3 later works of this quadriptych. A ‘layered’ composition that provides greater depth in the painting when viewed at a larger distance.
Acrylic on canvas
205 x 205 cm
2007
This second work painted in ‘late renaissance’ style is the sequel to Zeus. In the work we see Perseus saving Andromeda from the sea monster sent by Poseidon. This with the help of Medusa’s head (petrified), which he had defeated shortly before. A mythical depiction heralding the end of human sacrifice to the gods. A scene previously painted by great masters (including Rembrandt and Titian) in beautifully colored detail. All this under the eye of Zeus, the disguise artist (: the eye in the cloud). He will reward Andromeda for her loyalty and loyalty to Perseus. Earlier elements (floating house, the cloud, man with red cap on horseback) come back with all her references in this work. Above left is the extragalactic galaxy Andromeda, something that directly refers to contemporary science and art; nature has given itself eyes through man in order to be able to look back at the same nature. To understand and control it.
Acrylic on canvas
205 x 205 cm
2007
The third Greek work is painted in a cubist style and depicts Helios on his solar car in the night sky. Underneath his cyclic return journey from west (cross on the helm) to east (half moon on the bow) on his solar boat. Zeus (top right) as an observer will later kill Helios’ son with his lightning bolt in a cloud cover (top right). The floating house and men on horse are also depicted, with a reference to the current theme around ‘east and west’ (Christianity and Islam) and science. The background is painted as a black hole, consisting of small black holes. This is currently one of the biggest questions that concerns the science of metaphysics. The unanswered question behind the phenomenon of attraction, time and space. The black background itself consists of many small black holes, These are applied to the canvas in such a way that, from different viewing angles, the background changes from dark to light. No painted light as an illusion, but using ‘fair’ light, as befits Cubists.
Acrylic on canvas
320 x 170 cm
2009
This highly detailed, narrative dramatic scene is painted in a neoclassical style. It is a work that depicts the transition from the Greek to Roman times.
A burning Troy (top left) with a horse, a fleeing Aeneas (with father on his shoulder). And the eventual settlement in the promised land of oracles, Latium, which is related to recent Jewish history. On the left is priest Laocoön, who warned the Trojans against the trick of the Greeks with the horse.
He is depicted with two snakes and is swallowed up by his two sons (left on the table) by the two-headed serpent, presumably sent by Poseidon or Apollo. One of the most important Hellenistic sculptures, the Laocoöngroep, is about this myth. Next to it (woman with spear) is a picture of the goddess Roma and right next to her is Mars, together with the crying Rhea Silva, who was elevated by the Tarquinii as Vestal Virgin to avoid descendants. However, her immaculate conception was broken by Mars and she becomes pregnant with twins. These twin brothers, Remus and Romulus, are depicted below as children raised by the Lupa Capitolina. Above that, the adult brothers are engaged in their brotherly dispute over power in Rome.
The myth of the twelve vultures and the two armies facing each other at the temple of Jupiter (: under the resurrection of Zeus) testify to this on the canvas. With in the composition a reference to Homer’s Odyssey and Iliad, Aeneid of Virgil and Ab urbe Condita of Livius and a sensitivity of Roman nature.
The scene next to it (man with a blue helmet, with an outwitted woman in his arms and the characters directly to the right of it) continues with the Sabine robbery. The crowned King Romus wanted to expand his empire, but since his followers were mostly men only, he invited neighboring states to a party,
the Lupercalia. Here the invited women were outwitted. These women in their destiny will later throw themselves between their belligerent fathers and husbands. (woman with the warrior looking at the ground and child) A theme (civil war) with which Greek and Roman history is punctuated, but still contemporary today (cyclism).
With the fall of Brutus (bottom center), the end of the Roman monarchy started and the transition to a republic. When it falls, the schlemiel Brutus kisses the earth. His sacrifice to the oracle, a golden rod disguised in a wooden mantle, lights before him. And so did Brutus, he “disguised” himself as a stupid to escape the strict dictatorship of his uncle. The uncle, the Tarquins king Tarquinus Superbus, wanted to know which successor would come for him.
With the fall of Brutus (bottom center), the end of the Roman monarchy started and the transition to a republic. When it falls, the schlemiel Brutus kisses the earth. His sacrifice to the oracle, a golden rod disguised in a wooden cloak, shines before him. And so did Brutus, he “disguised” himself as a stupid to escape the strict dictatorship of his uncle. The uncle, the Tarquins king Tarquinus Superbus, wanted to know which successor would come for him.
With the fall of Brutus (bottom center), the end of the Roman monarchy started and the transition to a republic. When it falls, the schlemiel Brutus kisses the earth. His sacrifice to the oracle, a golden rod disguised in a wooden cloak, shines before him. And so did Brutus, he “disguised” himself as a stupid to escape the strict dictatorship of his uncle.
The uncle, the Tarquins king Tarquinus Superbus, wanted to know which successor would come for him. He consulted Pythia at the oracle of Delphi dedicated to Apollo. The message from the gods was that the first to kiss the mother (earth: Gaia, top right with globe in her hands) would become his successor. And his cousin Brutus did.
The king’s own sons were exiled after it was discovered that one of the sons had dishonored and raped Lucretia, wife of a prominent officer of the king.
This woman (right) is depicted after this shame of the prince. In the arms of her husband and her father and the befriended Brutus. She is depicted in a Pieta pose. Finally she asks Brutus (: top right, red-hooded man on horseback) to avenge her and put an end to the Tarquini monarchy. This happened and Brutus who was fooled, becomes the first consul of the Republic of Rome. The emergence of Rome as a power is also compared with the rise and power of the ‘new’ Romans, the Americans. Power, dominance, civil war, exploitation of women and family tragedy. Everyday topics that rehearse themselves in history.
More info: R.Versteeg – tel. 0031-634975898