Even before my recent trip to the Netherlands I was interested in the Cobra art movement. It was ironic to see in the Dutch embassy in Bondi Junction recently, while renewing my passport, a poster of a Cobra exhibition at the AGNSW in 2014 (?). In the Netherlands I managed to see works presumably too fragile to travel, such as a painted wooden column by Appel about refugee children. The paintings were furiously, vigorously energetic and colourful. But my attraction to them was that they were a natural descendant from Derain and Jawlensky, who, admittedly broke the ground, leading away from realism and impressionism towards using colour to express emotion; and we all know where that ends!

The moment in Jawlensky’s work, even its equivalent moment for Kandinsky, when the artist has not quite relinquished his hold on realism and turned to abstraction, as in Kandinsky’s last paintings, point the way inexorably to Appel and his colleagues.

Part of my attraction to these artists is that they explain the possibility of progressions of shapes, ones that suggest realism, but not quite: the various methods of doing so, too, are of interest.

My latest work, just finished, Hello Mr Appel, Dutch art movement leader: 16 cms H X W, cotton warp 8 per in,. cotton, linen, synthetic wefts.




About anton veenstra

tapestry weaver, fibre artist, gay/qr activist, multiculturalist
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