FONS HEIJNSBROEK, CONTEMPORARY DUTCH ARTIST, Amsterdam - The Netherlands
watercolors and large paintings; for sale & worldwide shipping
for a short impression of the recent paintings and watercolors by contemporary artist Fons Heijnsbroek, here some pictures of his recent art.
click for more art-images on the website of the artist Fons Heijnsbroek
|
| GOOGLE+1 |
|
watercolor on paper 6.617, 2010 |
watercolor on paper 6.605, 2009 |
|
acrylic painting on canvas, 2009 |
watercolor on paper, 2010 |
|
watercolor on paper, 2009 |
watercolor on paper, 2010 |
|
watercolor on paper, 2009 |
acrylic painting on canvas, 2009 |
|
watercolor on paper, 2010 |
acrylic painting on canvas, 2009 |
|
watercolor on paper, 2010 |
watercolor on paper, 2010 |
click for more art-images on the website of the artist Fons Heijnsbroek
Fons Heijnsbroek - Dutch contemporary painter artist: colorful abstract paintings & watercolors, Amsterdam - The Netherlands
Fons Heijnsbroek, born in 1951, is an artist from Amsterdam who has been painting abstracts since 1989, first on canvas and since1996 also gouache on paper. His aim is to create modern, open paintings with lots of energy and vitality. His work shows a progressive transparency and openness. He consciously avoids giving space to negative forces. He wants to produce abstract paintings that portray a feeling of optimism and life force. He creates complicated visual images with various layers and internal spaces; he challenges the viewer to wander through the painting and to decide his or her own route.
Dutch landscape
His abstract and often colorful paintings are created on the spot and not from any predetermined idea or image. At first, round about 1990, Heijnsbroek used the Dutch landscape as a basis for abstract painting. But, after some years his abstract work developed spontaneously, often with a strong emotional aura/atmosphere. Even so, his work still shows a strong connection to the Dutch atmosphere of land, water and sky that he loves so much.
New areas in painting
Fons Heijnsbroek has a spontaneous, direct style of painting with impulsive use of paint and long periods of just looking at the painting. He destroys a large number of his gouaches because they do not fulfill his ideal. Destroying a lot of his work has become an integral part of his work process. For him it creates the chance to allow “the moment itself” enters into his work.
After 2007, lines begin to have more freedom in his work, especially in his gouaches. In Heijnsbroek’s work the line is usually organic, but now becomes confusing and aggressive, in order to open up new areas of painting. Sometimes the paper tears opening up a new perspective. His wild lines want to keep moving without reaching their target; they fight against strict areas and shapes. To Fons Heijnsbroek, modern abstract painting means continuous journeying.
A painting dialogue: Benfo
From 2006, the next step in relinquishing his identity begins; an intense and enduring painting relationship grows between Heijnsbroek and his colleague Ben Vollers. The two artists paint together and react on the spot on one large painting: ‘A dialogue in image and paint’. The result is a series of large expressive paintings. Both artists are strong and direct; their aim is to arrive at an integration of their impulses within the painting.
Modern abstract painting
by Fons Heijnsbroek
I live in Amsterdam, in the city centre on the fourth floor where I paint my abstract paintings. I do this since 1989. It is an intuitive way of abstract painting I practise, without any ideas before-hand; the image has to develop itself during the process of painting. So I like to name my art as intuitive abstract painting, because that is exactly how the images in my art come to life into this visual world.
Intuitive art means to me, I have no image when I start to paint, so the images calls themselves into visual life during the process of painting. Of course I must be open for their calling, and I must keep myself aware of everything what comes up and asks for a place in the picture. This is the side of intuitive abstract painting, the coming beyond me; it is the very dynamic processor, operating in the process of painting.
On the other hand I myself must be aware and use my individual history, attitudes, emotions and collected experiences; they form the basis on which I have to make my visual decisions again and again. That is my own responsibility in the creative process. I am not an empty mind; I learned and lived year by year. And yet I must keep my mind open to the new visual sounds coming to me as free birds, as representatives of the unknown; it is a living paradox …
My abstract painting itself grows from intuition; it speaks only in the language of images and visual imagination, often beyond myself. This is the area where I transcend and opens myself for new views which come to me. Painting lies in the twilight between the known and the unknown. I am not mastering the painting; on the other hand, I am not just the victim who just can follows the sound of the universe. It lies between! And the point is: there does not exist a fixed point. That is what art is about, I presume.
Quotes by the contemporary painter artist Fons Heijnsbroek
2008:
Creating art is a form of alchemy, meaning that what you create must have en effect on yourself as artist. Therefore, it is necessary that the painting goes beyond the personal or at least coincides with it / me; as if clarifying something that drives me further.
2008:
This is the vulnerability of purely abstract art; (and therefore, my own vulnerability as well): how do you maintain you expression and all it’s vitality? The life-force of the earthly is lacking if you decide to no longer portray the world. I keep being confronted by this question, before now in my fear and feeling that purely abstract art is actually deathly. Recently, the question is posed differently: what is the living well of expression? Where does the power and drive come from? And especially: how can the vital aspect of this be maintained during the painting process itself?
2008:
The painting I produce is always larger than myself, because things outside myself are included. But after that there is the necessity to define this larger, wider presence in my painting. With me, this takes place directly during the process of creation, through a vague premonition that ‘something’ is going on, something is happening. I can try to contain this by not painting it out, and thus keep this ‘sound’ from destruction.
2008:
In this modern age it’s fascinating that we can look inside the body or into the depths of the ocean, this gives us different visual images of organic matter. I have to be careful to watch out that I recognize this in my own paintings.
2008:
(fragment from a letter): What would enable me to look at the unexpected, the new? There is something that takes my breath away when I look at something that touches the edge of my memory. That can happen with daily images of the city, and the same thing happened Herman, when I saw your canvases this summer. It took my breath away because, in some way or other, I experience and actually know well that there was a visual breakthrough in me. I often had the same experience looking at paintings by Soutine and Willem de Kooning’s work in the Stedelijk Museum in Amsterdam. Not with all of them, but there were a couple of de Kooning’s paintings that caused me a feeling of revulsion, yet I kept going back to look at them, (that’s the advantage of a museum that honours its permanent collection), and then I spent ages with my eyes just caught up in these paintings. Then, suddenly that moment would come, my breath would be knocked out of me and immediately afterwards something hit me. Like being struck by lightning.
2008:
In a number of his water lily paintings, Claude Monet separates the colours radically. If you really get up close, the colours are so far apart that they almost lose their bond. The mutual bond is not strong enough. This is a totally different way of working with colour than say Matisse / Picasso. They were searching for an answer to the problem of how to integrate coloured areas without them becoming too independent. The subtlety of the line and surround were crucial to this. But not for Monet. He had to make the effort the other way round, by forcing all the lines and strokes into one area, something he thankfully rarely achieved. I don’t mean the opposition of impressionism-expressionism; here I mean the question of how colour exists and should be place in life.
2008:
That which is unformed does not yet exist in life, because it has to first find a form that is functional in life. I don’t think the idea is for a form to just float about. A form has to be active, it evokes something. People look at our paintings and something should happen to them. That is where I can mean something as an artist. I can offer something new and hope that someone picks it up. That must be my responsibility: What have I to offer? I stand on the border of ‘nothingness’ and all existing forms in the painting. I am the one who decides on a form and whether or not it can exist so can work.
The abstract art from Fons Heijnsbroek
by owner Hans Cohen
I have been collecting modern abstract painting since around the mid eighties. Colour and abstraction has, more or less, always been my guide. In the beginning I went for the colourful work of the Cobra artists. Allthough I could never afford to buy an original Karel Appel, I did acquire a couple of works from other Cobra artists. Later on I expanded the modest collection with works of other artists who where painting with an even so colourful palette. Later on my taste of art was shifting towards more and more abstraction. At first, colour and composition were the main focus. Some abstract-figural elements might have been present in those days. But now my focus lies mainly on the complete abstract art.
Through art-organization Artolive-online I accidently stumbled upon the work of Fons Heijnsbroek. It was love at first sight. Unfortunately (but not for Fons!) many of his paintings were already sold but there was one painting that caught my eye which was still available. It was a large abstract colourful canvas. Immediately I measured the wall where I had the painting in mind and contacted Fons to arrange a viewing at his studio. When I met Fons for the first time there was a warm welcome and a common interest and when I saw the painting in real I bought it immediately.
What I like about Fons’ art, and good abstract art in general, is that your eyes can wander all over the painting. There is no pause, no stop, no recognition of any figural element and no point to focus on. Just admiring the whole painting. If there is a point of focus on any painting you tend to stare at it and by doing so you skip the rest. Not in Fons’ paintings. His paintings are holistic works of art. Your eyes travel all over the whole canvas. Like travelling to the unknown, it never bores. Every time you look at the painting it is a whole new journey.
Through Fons I met his colleague painters Ben Vollers and Daan Lemaire. They both share the same ideas about abstract art and naturally I became interested in their work too.
Curriculum Vitae of Fons Heijnsbroek, Dutch painter artists
Exhibitions
2010:
- ‘Two painters on one canvas’ duo-exposition of Benfo-paintings, Oosterkerk,
Amsterdam
- ‘Flow’, duo-exposition with artist Paul van Acker, Orangerie / greenhouse,
Amstelpark, Amsterdam
2009:
- ‘Dialogue pictural’ Benfo-exposition in the St Pierre church Avallon, Burgundy,
France
- ‘Four painters, four visions’ group exhibition of four abstract painting artists,
Orangerie / greenhouse, Amstelpark, Amsterdam
- Summer exposition in gallery Thyencamp, Hooghalen, Drenthe
-‘’Two painters’, duo exposition with Daan Lemaire, gallery M.L.B., Amsterdam
2008:
- participation in art-event ‘Lek-art’, together with Ben Vollers. We painted in
the old mill in Culemborg, to ‘a view from the mill’
- exhibition ’3 X SCULPTURES’: small abstract ceramic sculptures I made
together with Eduard Mathijssen, in Orangerie in the Amstelpark, Amsterdam
2007:
- one picture is purchased bij the Amsterdam public city-archive
- ‘Hymn in Haiku’, a project with Annemagreet Kuiper, on inspiration of the
‘Hymn tot Matter’ written by Teilhard de Chardin. Annemagreet wrote the
haikus
- ‘Trialogue in Space’, exposition and a trialogue in visuals between the painters
Albert de Wilde, Herman van de Poll and myself
2006:
- realisation of a silo-painting in Hällefors, Sweden, together with Hilly van
Eerten, for the organisation EuropeanArtists.tv
- group-exhibition of the artistgroup ‘Art-abstract’ in the Orangerie, Amstelpark,
Amsterdam
2005:
- duo-exposition ‘Dutch Abstract’ with the Dutch painter Ben Vollers in the AOMI
(European Patentoffice in Alicante), organised by Kepasa and Artpoints, Spain
- international group-exhibition in the Leeuwenbergkerk (church), artcollection with as theme: Day of the Earth, Utrecht
- group-exhibition of the artistgroup ‘Art-abstract’ in the Orangerie, Amstelpark,
Amsterdam
2004:
- 2 gouaches purchased by the art commission of the House of Parlement, Binnenhof, The Hague
- group-exhibition at Milano Design, organised by Artpoints, Alicante, Spain
- participation by three projects at the art-manifestation ‘De Ruimte, Ateliers
van Gendt’, former railwharfs, Amsterdam
- ‘Noordwijk Tuinkunst’, exhibition with three artists in an old working flower
barn
- solo-exhibition in kunstuitleen SBK-Zuid, Amsterdam
- solo-exhibition in Casa de Cultura at Benijofar, organised by Ciudad del
Hombre
2003:
- première-exhibition of the artists group Art-abstract, De Kapel, Amsterdam
- a series of gouaches is selected in the project ‘Kunst op de Werkkamers’ (Art
in workrooms) of the second Chamber (Tweede Kamer), The Hague
- solo exhibition at Ytres Design, Alicante, organised by Ciudad del Hombre
(Artpoints), Spain
2002:
- group-exhibition in the ‘Burgerzaal’ of the National Assembly: project ‘Art in
the offices’, The Hague
- solo-exhibition in Cafe ‘Eylders’, Amsterdam
- solo-exhibition in entrance hall of SFB group, Amsterdam
-group-exhibition ‘1001 Reasons to love the Earth’ in the Grote Industriële
Club, Amsterdam
2001:
- virtual exhibition ‘Highlighted’ on he website of SBK Kunstuitleen, Amsterdam
- Trio-exhibition ‘Achter de Dingen’ (Behind Things), with Daan Lemaire and Ben
Vollers in the Glass house of The Amstelpark in Buitenveldert, Amsterdam
- group- (summer) exhibition in ‘Vermeulen Art Gallery’, Loosdrecht
- solo-exhibition in the Hortus Botanicus, the Botanical garden of Amsterdam
2000:
- duo-exhibition with Ben Vollers in ‘Le Gué’ Gallery, The Hague
- solo-exhibition in ‘Galleria dárte Il Colossi’ Gallery, Amsterdam
1999:
- duo-exhibition with Paul Werner in city district office, Amsterdam Oud-West
1997:
- trio-exhibition ‘Rondom het Glas’ (Around the Glass) with Daan Lemaire and
Ben Vollers in het Glazen Huis (the glass house) of Amstelparc, Amsterdam
1996:
- group-exhibition in the ‘Ignatius gallery’of the Ignatiushuis, Amsterdam
1994:
- solo-exhibition in ‘Jos Art Gallery’, Amsterdam
- trio-exhibition ‘Torcy a Trois’, with Theo de Feyter and Nancy Perreault in the
small church of Torcy-Pouligny, Côte dÓr, France
- solo-exhibition in the buildings of the district court and the cantonal court,
Amsterdam
- group-exhibition ‘Numerators and denominators’ in the Oosterkerk,
Amsterdam
- group-presentation on the art fair ‘Holland Art Affair’ in Utrecht
- group-exhibition ‘Man and interior’ in the Muzerije, Den Bosch
1993:
- participation in ‘Open Art Platform’ in the Vondelkerk, Amsterdam
- participation in ‘Open studios Eastern Islands’, Amsterdam
1992:
- participation in Studio-weekend ‘Looking around the church’, Amsterdam
- duo exhibition with sculptor Frans van Dorst in ‘Centaur’ Gallery, Elsloo
1991:
- group-exhibition ‘Four painters on an Island’, with Cees Romeyn, Daan
Lemaire and Jan Mulder in the Oosterkerk, Amsterdam
1990:
- participation in ‘International Marine Paintings exhibition, during Sail Amsterdam
- participation in Art Fair ‘Art 1990’ in the RAI, Amsterdam
1989:
- participation in travelling exhibition with Russian and Polish artists, in
Ostrolenka, Galuka and in ‘Dom 100’ Gallery in Moscow, Poland and USSR
- participation in ‘Plain Air’ and a resuming exhibition in Ostrolenka, Poland
- duo exhibition ‘Malarstwo-Grafika’ with Annelies Weterman in ‘Osrodek
Kultury Plastycznej’in Ostrolenka, Poland
1988:
- participation in ‘Open studios tour Eastern Islands’, Amsterdam
Works owned by
My work has been purchased by the following companies and institutions
- communal archive of the city Amsterdam
- Dutch House of Parliament, the Hague
- Draka Kabel BV, Amsterdam
- Project Management Bureau, Amsterdam
- P.C.Hooft group, Amsterdam
- European Artists, Hallefors, Sweden
- Mercedez Benz BV, Antwerp, Belgium
- Sociaal Agogisch Centrum, Amsterdam
- Amsterdam Thuiszorg, Amsterdam
- SBK ‘Kunstuitleen Amsterdam’, Amsterdam
- SBK ‘Kunst in Bedrijf’, Amsterdam
- Kunstuitleen Het Gooi, Hilversum - Jos Art Gallery, Amsterdam
- galerie Art Wellness, België
YOU ENJOY THE WEBSITE??