I Will Maybe Like to Jos It in May Art
Jos Kivits: A Collectable Creative person Turning Away from the Gimmicky
Many may take inspiration from the esteemed Dutch Masters, few take that inspiration as faithfully every bit Jos Kivits. Hailing from the Netherlands, Jos's paintings are recognised on Bluethumb as awe-inspiring pieces, boasting both technical skill and an impressive air of achievement. At a fourth dimension when abstruse art becomes further in demand, Jos Kivits offers a neo-classical approach to still life and landscape paintings, and continues to honour a traditional take on art. In turn, Jos delivers his compelling statement for turning away from the contemporary and adhering to more than orthodox values.
How did your painting practice come up about?
Equally a child we lived under the toxic smoke of a big chemical factory and I suffered from chronic bronchitis. Being in bed many weeks in the twelvemonth I was given pencils and paper, and my mother loved flowers, so that is what I did. Then, when I was 12 years old I joined evening painting classes, and made my first oil painting which my older brother wanted. I felt flattered, and when I was 15 went to a school for art. Still, my mother did not like the idea of having an artist in the family unit and I institute work at an architect bureau kickoff, and later as a junior at the Philips business organization at their artistic propaganda bureau. Then before I married I took over my begetter's wholesale business in textiles and started to collect art.
What brought you to live in Commonwealth of australia?
It was due to an epiphany that I received when I was 27, a calling to sell the business, go to New Zealand and go an creative person. By that fourth dimension we had 2 children and a good business. Yet, I followed the calling later on I had had some more lessons by our region's almost celebrated realist creative person. Nosotros packed up and left with a great sense of anticipation and expectation as I went into it in blind faith. It took seven years of hard piece of work and a lot of study until all our savings from the sale of the business organization were gone and we had to sell off our cars we came to New Zealand with. You could say we went totally bankrupt and I questioned those who had spoken to me years earlier, a little.
Like today, in 1973 to 1980 it was all abstract that you lot saw in art galleries. But I had the strong feeling I should not go later on annihilation that was not realistic. After a period of severe drought in sales, and testing times by the critics in the newspaper, my work was somewhen accepted by a South African art dealer in Auckland and started to sell. A number of good years followed and nosotros were able to compensate our losses, although we could never purchase back the antiques and art we had to sell. The requests I received and the unlike galleries chasing me caused me to paint 65 hours a week with no holidays or breaks. We bought a business firm, built a studio and a motorcar. Nosotros decided to leave New Zealand and live in Australia in the promise of a less stressful life.
What highlights have at that place been in your artistic career?
I met some great art lovers and successful business people who became my patrons in New Zealand and in Sydney. However my greatest thrill was a dealer on the North Shore of Sydney who was a lover of the fine arts, and had a small gallery in Crows Nest. Nosotros put on a number of exhibitions together over the fourth dimension that he had his gallery in that location. He himself lived near Newcastle, and every day he drove to Sydney. Merely on a Wednesday he stopped over and nosotros would talk art and other things for hours. This human being was my muse and my friend. Sadly during the recession, he had to shut his gallery and started to lecture at the University virtually where he lived.
Y'all draw your artwork every bit Ethnic Dutch style. What characteristics does this mode have?
Very early in the slice long before kingdom of the netherlands separate from Belgium, around 1600, the Flemish School was equally famous every bit the early Italian ones. The only difference was their paintings were much smaller. They were chiffonier pieces, made to savour in one'due south living room and not in a church or a huge hall of sorts like the Italians. They were magnificent in technique and colour. If you e'er take the take chances to go to Antwerp you should go and see them. Then perfect and already showed ameliorate perspective than whatever other school that existed. Even today, they expect like they were painted yesterday. This was due to the oil pigment they had invented and information technology gave a special 3D issue. Magical, absolutely fantastic – information technology gives me goosebumps.
Over time the Dutch schools of fine art developed in a different direction. Different cities had their unique taste, and Amsterdam with its surrounding cities, existence a condom haven for the persecuted Jewish traders who were leaving Portugal and Spain and had formed the Far Indian Company, were bully patrons of the arts, with the result that Rembrandt, Frans Hals, January Steen and Johannes Vermeer could reach the elevation. Nifty floral painters like Jan van Huysum, and nevertheless life artists like De Heem and Heda have never had their equals. Later on, in the first of the 19th century in that location were marvellous landscape artists like B.C. Koekkoek and seascape artists like Meyers and Schotel. When you come across these masters' work you volition see romance with nature and the environment. Pure realism in many unlike means.
What attracts you to however life painting?
When I was attending art schoolhouse, my older brother and I would become to exhibitions. They were mainly modernistic artworks, and nosotros would say: "We tin can do that too." And nosotros did. Nosotros painted like Picasso, Klim, Pollack, Karel Apple, etc. simply we were never as fulfilled as we thought we should exist. Then one 24-hour interval, earlier nosotros went to the cinema, nosotros had an hour to spare and popped into a small gallery in the center of the city. Information technology was an exhibition of fine pencil drawings, some every bit small as 10cm x 10cm of pebbles; just river rounded ones of unlike colours. They were so realistic and fascinating that I did a few modest drawings of evidently objects in blackness and white in such realism that I was impressed myself. So, I decided to break from mod fine art (all my abstruse paintings I destroyed, bar the ones that some friends already had taken) and started to written report realism. At start information technology was photographic realism, until I started with flowers. This was a challenge and a half, for it was almost impossible considering they started to wilt while you were drawing them, let alone practice them in oil pigment. Information technology was the thrill of pulling it off that became addictive. When one day in Auckland they had an exhibition of Dutch still life masters, in that location was a modest painting, well-nigh 40cm x 60cm of a classic still life, and I started to feel faint. It acquired my tears to menses and my heart to palpitate; a very unknown piece of work of 1 of the Dutch even so life painters. Breath taking! At least for me it was. I'd never felt so happy with anything anyone could requite me, merely just to run across that painting!
What makes a collectable artist, in your opinion?
There are unlike sides to this question: one artist paints and is nerveless for the possible increase in the investment value of the work. In that category you lot do not demand to be proficient at what you exercise, but you need to be smart in what you lot are not going to say on the opening night of the exhibition! These collectors are not interested in how good a painting is merely buy them for the signature. The other collectable creative person is the i who wants to please the people with how well the painting would fit into their collection and goes with the curtains. The other creative person and collector are looking for something that is different to everyone else's work, something very new, unique, forgetting the adage: "Something new is not e'er better, and something different is non always progress." Others are following the tastes of the richest collectors, and brag nigh the proper name of the people who bought them. Others are only seeking paintings with daze value, the ones that make the evening news. There are few collectors that are truly eclectic, that judge and like every painting for its ain merit. And then there are those – like myself – that do not like to take an opinion for fear of open up criticism. I have been hurt as well many times, however I brought it upon myself I judge.
Do you have whatever small goals for the futurity of your artistic journey?
My dream and goal is to preserve the art that once was, now is, and volition exist again. The art that is pure and honest in its execution, without the assistance of machinery, photography, grit lines and the like. This is in my opinion the eternal and ultimately truthful art. Art that carries a greater burden, that is truly timeless, a archetype, i that a kid of 5 years and a grandmother of 95 years tin can enjoy, without having to be brainwashed, and without preconceived ideas and programming in news bulletins. Like a skilful and prissy piece of music, not also heavy, not too frivolous, merely pleasant, that brings a tear to your eyes and tickles the cockles of your heart. Sadly, I take non seen any lately. They seem to take ended upwardly in the attic or in garages until they have rotted away.
I will never forget reading about two Dutch artists, long after they had died. One by the Name of Alma Tadema whose work sold for the price of a mansion while still alive in 1910. Then in 1952 the aforementioned piece of work was sold on to Sotheby's, I think, for $2,500. The other one was B.C. Koekkoek, too profoundly sought after during his life and then forgotten for 100 years. A dealer institute ane of his paintings continuing adjacent to the dustbin on the street. Years after the first ane was resold for $i,250,000 and the other one was sold in the 1990s in the vicinity of $270,000. Not to mention the most famous Rembrandt, The Night Lookout man, was used as underlay for a carpet for 150 years until it was rediscovered, and is now considered admittedly priceless. It is very painful to exist forgotten and dumped as irrelevant by the avant-garde – believe me. I've looked dorsum on my ain life and empathise that former people never fit in whatever time, and it is probably for that reason many go senile so as to forget and to forgive and permit fashions exist what they are. I promise that flesh will all the same exist able to smell the roses in the next few decades, for even the modern roses are losing their original scent.
Jos Kivits is one of our meridian ten still life artists, as well as a prominent Collectable creative person – see the full listing here. Catch his work in our Goodwood Gallery if you lot're an Adelaide local.
ten Local Canberra Artists You Should Know
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Source: https://bluethumb.com.au/blog/interviews/jos-kivits-a-collectable-artist-turning-away-from-the-contemporary/
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