Poen de Wijs Art Work
Nationality: Netherlands
Poen de Wijs, born in Nijmegen 1948, studied at the Royal Academy of Visual Arts in the Hague, 1966-1971 (MO-B). He lives and works in the Hague. Poen de Wijs' works developed from abstract to realism, with his first realistic water colours dating from 1977. Since then he has built up a sizeable collection of works, ranging over 700 pieces, initially in water colour, thereafter oils which was followed by acrylic paints in 1999. He has also created a large number of lithographs (graphic prints from stone).
His art became widely known throughout the Netherlands after his first realistic water colours, especially after his paintings were used as the LP covers for the group FLAIRCK. This, along with his successful exhibitions at Gallery Steltman, in Amsterdam (from 1979 to 1989) further ensured that he had firmly established his name. During a period when abstract art and experimental paintings was the hot topic of the day, reaction to Poen’s (his) work varied immensely. There were not too many galleries, who chose to exhibit realist art, at the time, due to a clearly divided “pro” and “anti” realist art campaigns and opinions:
- (Frans Duister in het Parool 1979): "He expresses his intention very quickly. Simply because through his technique he has the ability to show what he has in his mind."
- (Cees Straus in het Haarlems Dagblad 1979): Poen de Wijs often places his women in a dreamlike atmosphere, so that they stand just next to reality. Only though his precision from detailed photo-realism, is there a trace of a link to earthly density present."
- (Ferd op de Coul in Brabants Dagblad 1980): "Due to the fact that Poen de Wijs is a great talent, a perfectionist () That gives his refined, almost scented eroticism something decadent. Someone that can draw and paint so beautifully is a blessed man."
- (Paul Kokke in het Brabants Dagblad 1983): "He is an almost gruesome perfectionist. His theme, nude women, is sometimes too fashionably executed. Poen de Wijs sometimes balances on the edge of art and illustration."
- (Menno Schenke in het Algemeen Dagblad 1986): "A sharp contrast with the work of Karel Appel forms the weak kitsch of Poen de Wijs. What Gallery Steltman sees in Poen de Wijs is an enigma."
- (Roos van Put in de Haagse Courant 1998): "The technique dominates."
- (Ed Dekker in Atelier 2001): "Fabulous realism."
From 1990, his exhibitions were organised by the gallery de Twee Pauwen in the Hague and the gallery Bonnard in Nuenen. Internationally there were many undertakings with exhibitions, presentations and expos, among others, Indonesia, Germany (Frankfurt, Jade), Switzerland (Interlaken and Bazel), Kenya (Nairobi), USA (Chicago, New York) Austria (Innsbruck), Spain (Madrid). In the meantime there have been six editions of monographs and catalogues distributed about his works.
From 1990 Poen de Wijs has worked more often with themes. His first big theme, "The Three Graces" was an ode to the classic painters and characterised his master test. (Micaela van Rijkevorsel in Tableau 1991). His love for classical music was brought to expression in the theme "Alma Musica" (1993). In "A Kenyan Holiday" (1995) and "The Clothes of the Geisha" (2000) his love for travel and other cultures was incorporated. He made a big impression with his exhibition "Prima Vista, A Portrait of Mini & Maxi" (2002).
In the course of the years many reviews have been published in art publications, magazines and newspapers: Among whom:
About his technique:
Poen de Wijs has had many articles published, dedicated to his ability in the disciplines of a variety of painting techniques. During the course of his career, the art critics have had many differing opinions concerning his works, but all have unanimously agreed and noted the high technical quality as a constant. Poen de Wijs has never limited himself to one painting technique or shunned experimenting with different techniques, on the contrary, he continuously experiments and explores new techniques, possibilities and realms. He has studied and mastered the art of applying the old painting techniques, whilst incorporating his newly developed possibilities. His realistic style has thus evolved with the changes in the application of painting materials.
- (Gerard Kerkvliet in "Poen de Wijs"): 1998, Publication de Twee Pauwen): Imperturbably, Poen de Wijs paints his oeuvre, in which no hard discord can be found. To the faultfinders who in the course of time have characterized his works as 'polished pictures', 'too pretty', 'on the verge of kitsch' or '20th century salon art' he shows with malicious pleasure his forbidden fruit: beauty can never be beautiful enough."
- (Idem): "Invariably visitors to his exhibitions bend close to his work to let reason confirm what their eyes will not quite believe: it is really painted."
- (Idem): "Poen's play with layers is twofold: both in his technique and in his images several levels can be discerned."
From 1990 Poen de Wijs has worked more often with themes. His first big theme, "The Three Graces" was an ode to the classic painters and characterised his master test. (Micaela van Rijkevorsel in Tableau 1991). His love for classical music was brought to expression in the theme "Alma Musica" (1993). In "A Kenyan Holiday" (1995) and "The Clothes of the Geisha" (2000) his love for travel and other cultures was incorporated. He made a big impression with his exhibition "Prima Vista, A Portrait of Mini & Maxi" (2002).
- (Piet Bogaards): "In the 25 paintings of this illustrious musical clown duo, he focuses on the people behind the clowns, with their characters and emotions, their feel for humour and poetry." One of these painting was bought into the portrait collection of the Royal Theatre in the Hague. In "Time and space" (2005), for the first time he painted onto Egyptian papyrus, while bringing his contemplative character convincingly to the foreground.
- (Piet Bogaards 2005): "Poen de Wijs gives a fascinating story through images in the human search of time."
In the course of the years many reviews have been published in art publications, magazines and newspapers: Among whom:
- (Leo Duppen in Kunstbeeld 1984): "When one belittles his works as 'pretty pictures' then one too easily oversees the investigation that lies behind his figurative language; the strive for synthesis between the different disciplines that have been developed in visual art through the ages."
- (Micaela van Rijkevorsel in Tableau 1991): "Poen de Wijs has succeeded in giving a modern view in which his desire for beauty is comprehensively fulfilled."
- (Ed Dekker in Atelier 2001): "Poen de Wijs' painting signature is incredibly clear. This clarity arises not only through his perfect technique, his own signature, but through what moves him. He fosters a great love for nature and culture. The artist strives to depict harmony in nature and culture."
- The interest for realism has strongly increased since the '70's. Meanwhile Poen de Wijs is one of the leading realists in the Netherlands.
- (Maarten Brakema in de Haagse Courant 2005, quotes Poen de Wijs): "I call myself a painter and not an artist. I have no other claims but to create good works. I don't need to become rich and famous, it's just hot air. I'd rather leave something beautiful behind."
- (In an interview with Tini Visser 1980 in "Aquarelle en tekeningen" edition Luyten): "The water colour technique is based on layer upon layer of painting. Between the application of each layer of water colour, the painting is "washed", whereby the excess paint that coats the paper is rinsed off. This thus gives a flowing, soft wholeness with a transparent finish. The image slowly reveals itself through four or more layers of paint application."
- (Interview in Teken en schilderen, 1986): "This technique gives the possibility of the so-called "optical mixing", meaning that a certain colour is built up from several layers and different colours."
- (R. van Groningen in Deventer newspaper 1981): "It is a technique that was used in the 18th and 19th century and that disappeared during the impressionistic period, until Poen de Wijs started using it again."
- (Dr Hajo Menso de Boer in Tableau 1998 / monograph publication De Twee Pauwen): Seeing a painting by Poen de Wijs leaves anyone, friend or foe, with a permanent impression on his mind. He is a contemporary realist: his paintings are never nostalgic and are inhabited by people and objects of the present time. His painting technique however is still very much connected to the old tradition……. More often than not this craft has fallen into disrepute. Much of the practical knowledge has been lost and the artist in search for his metier must go and look for the information himself. Thus the 20th century craftsman and realist finds himself pretty much on his own and he has to reinvent, as it were, the technical foundation of his field…..Painting in layers used to be a standard way of working in the historical painting technique…..With Poen de Wijs we can distinguish the following three functions: One layer for the form (the under drawing), one for the tones (the under painting) and one or more layers of colour."
About his technique:
Poen de Wijs has had many articles published, dedicated to his ability in the disciplines of a variety of painting techniques. During the course of his career, the art critics have had many differing opinions concerning his works, but all have unanimously agreed and noted the high technical quality as a constant. Poen de Wijs has never limited himself to one painting technique or shunned experimenting with different techniques, on the contrary, he continuously experiments and explores new techniques, possibilities and realms. He has studied and mastered the art of applying the old painting techniques, whilst incorporating his newly developed possibilities. His realistic style has thus evolved with the changes in the application of painting materials.