The Art of Eyvind Earle

Eyvind Earl is one of those artists who studied nature and its morphogenetic appearance, especially trees. He developed his craftsmanship to a high level art expression, making it to a true ode to nature. His works are of a level, that the strong desire emerges to want to live in the world he painted.

Oak Tree Serigraph © Eyvind Earl

Fifty shades of Green

© Jack Kruf (2022) Fifty shades of Green [fine art print]. Breda: Private collection.

Scotland is the place where green colours can be collected. I did. I elaborated from my 2005 notebook. An art impression of this overwhelming land of landscapes, where earth, sky, clouds and sunlight meet.

Desert view

Our adventure across the Namibian Sossusvlei resulted in the wisdom that no place in the desert is actually the same. Every valley has its own colour palette and architecture. The high sand dunes can sometimes reach up to 325 meter, as high as the Eiffel Tower. What an impressive place to be, the desert.

Wind, gravitation, water and light of sun and moon wash the sands, day and night, century in, century out. A continuous process of rearrangement and movement. In fact the sand grains are always on the run. I found these colours and curves.

Bibliography

Kruf, J.P. (2022) Desert view. Breda: private collection.

Towards the Sun

Sailing towards the sun can be a quite challenging experience. But it is worth doing so, from the shadows and the rain towards a more convenient place. Literally and metaphorically. For that, above all, you need that driving combination of conviction and craftsmanship. You have to have guts. And above you need a boat.

A plan will help you, but much more important is the action itself, that state of actually doing it, of going into an adventure. And of course you need to know about the moon and the stars, the water, the tides, the currents and the wind. And you need to know all about your own strengths and weaknesses. Outer and inner world meet in success, always.

In fact it is about the ability to navigate, that constant peddling between knowing where you are, where you want to be and what to do. Let’s go, towards the sun.

Bibliography

Kruf, J.P. (2022) Towards the Sun [fine art print]. Breda: private collection.

Path

After the loss of a dear friend some weeks ago, I imagined with my pencils this path for him. A stairway in a pristine white setting under an azure blue sky.A path to heaven, there he will arrive soon. He has all the love, care and involvement certificates to be accepted. Of that I am sure. A path to eternity it will be.

He already did pass the gate. I look upwards to it and see the blue sky. He is gone. I knew him. He was my friend. He is within the heart, within the soul.

Bibliography

Kruf, J.P. (2022) Path [fine art print]. Breda, The Netherlands: Private collection.

Robin

I love this bird. The robin has beautiful colours. Its orange is dazzling. It lives with wife and children (temporary) in our garden. Companions at home. This summer, the family was part of our household. So far from my perspective and my charcoal pencils.

The present news about dictators, autocrats (on all levels) and democratic power houses brings me to another dimension of this bird. It is of course a personal association, in moments becoming a metaphor.

From ecological point of view the robin is relevant in the food chain. Itself it is a fierceless predator of insects and worms. Hm. Defends its territory with all its focus and effort. It does all what is necessary for that.

I recognise this behaviour in the world of power and influence (as Machiavelli described the world of ‘politics’), reading through today’s headlines – in all sizes, forms and capacities.

What helps in my idea, is the fact that the robin (and with all associations attached) is eaten by owls (wisest of all), buzzards (honest birds), hawks (masters of the wood) and falcons (actors of balance). The circle of life is hard but gives hope. I still love this bird.

Bibliography

Kruf, J.P. (2022) Robin [fine art print]. Breda: private collection.

Storm

© Jack Kruf. (2022) Storm. [fine are print, 1/1]. Breda: Private collection.

There is this feeling a storm is coming and all elements – water, earth, fire and air – will be tested. A personal art expression reading today’s headlines about war, climate change, diversity loss, right wing regimes, loss of democracy and human rights, the lust for and use of power, poverty, pollution and above all incompetent leadership. We seem to be frozen, and paralysed to act swiftly and accurately. What to say, what to feel? Words, I can not find. Paint helps.

The forest for the trees?

To find the forest for the trees can be challenging for a simple human being like me. The emerging of crises in all sorts and dimensions should implicate an expected swift and adequate action, at least from government. I see though a parcelled landscape of initiatives and actions, not that effective or even missing focus and target.

I find myself in a forest with trees all over the place, given me a kaleidoscopic colour palette but no sense where I am and no direction where to go. I try to see the forest for the trees. A personal art impression.

Bibliography

Kruf, J.P. (2022) The forest for the trees? [fine are print]. Breda, The Netherlands: Private collection.

De expressiekracht van Wasilly Kandinsky

Het publieke domein kan worden beschouwd als het stedelijk canvas dat plaats biedt aan een samenspel van burgers, bedrijven, maatschappelijke organisaties, overheden en de omringende omgeving. Of ook als de dynamiek van rijk geschakeerde beelden en geluiden. 

De dynamiek van het publieke domein zou in ‘Composition VIII’ door Wassily Kandinsky in 1923 tot leven kunnen zijn gebracht. Hij was er in zijn wezen op gericht een abstracte taal te ontwikkelen die sterke emoties kon oproepen net zoals de muziek dat kon doen: “Form itself, even if completely abstract … has its own inner sound,” schreef hij.

Wasilly Kandinsky

Kandinsky was op zoek naar een universele harmonieleer in de visuele kunsten, dat aan de basis van elk werk zou moeten liggen. Een haast mystiek geloof dat werd versterkt door overtuigende innerlijke kracht van de schilder: “Color is the keyboard, the eyes are the hammers, the soul is the piano with many strings. The artist is the hand that plays, touching one key or another purposely, to cause vibrations in the soul.” (Kandinsky in Thornwillow republication)

Bibliografie

Kandinsky, V. (2013) Effect of Color. Newburgh, NY: Thornwillow Press. A republication of Kandinsky, V. (1911) Concerning the Spiritual in Art.

The Bodmer Oak

Monet, C. (1865). The Bodmer Oak, Fontainebleau Forest [Oil on canvas]. New York City: The Metropolitan Museum of Art.

By Jack Kruf

It is painted by impressionist Claude Monet (1840–1926) in the year 1865. According to Plant Curator there is a strong possibility this tree is of the species Quercus petraea (Mattuschka) Lieblein (Sessile Oak, Chêne sessile, Wintereik, Traubeneiche), an emblematic tree of the French forest.

The Bodmer Oak was named after Swiss artist Karl Bodmer (1809–1893), who exhibited his painting of a tree in the heart of Fontainebleau Forest, La Forêt en Hiver, 15 years earlier at the Salon of 1850. The painting of Monet is in the collection of The Metropolitan Museum of Art, New York City.

Monet used bright yellows, greens, and oranges to depict sunlight filtering through the canopy of branches. The carpet of russet leaves signals that he painted this view just before he concluded a months-long visit to Fontainebleau in October 1865 (Source: MetMuseum.org).

What makes this painting so special that it feels you are actually standing in the middle of the forest, at the same level as the tree, at the same spot within the wide forest. It connects you to the tree. It is a great feeling. As if you feel being part of something far more bigger than you. Go into the forest and try it. It is a form of Shinrin-Yoku: The Art and Science of Forest Bathing. Claude Monet painted this feeling in the Bodmer Oak.

Een les van Cézanne

Interieur_de_foret_par_Paul_Cezanne_Yorck
Cézanne, P. (1898-1999) Intérieur de Forêt [Oil on canvas]. San Francisco: Fine Arts Museums of San Francisco.

Een blik op het interieur van een organisatie kan inzicht geven hoe zij er echt bijstaat. Zij dient in overheidsland de democratische principes van transparantie, rechtmatigheid, verantwoording en aansprakelijkheid richting de burger. Zij kan ex ante zijn, maar ook ex post als gelijk welk bestuur verantwoording aflegt aan haar burgers of klanten in bijvoorbeeld een jaarverslag. Het is een vak omdat je moet weten welke indicator iets zegt over wat. Het oog moet precies zijn, de kennis voor uitleg en interpretatie aanwezig.

Een voorbeeld van een voortreffelijke blik op een interieur, in dit geval van een bos in het Parc du Château Noir in de provincie Aix-en-Provence door Paul Cézanne – onderweg tussen impressionisme en kubisme. Het kan dienen als illustratie hoe essentieel en verfijnd die blik kan zijn.

Dit schilderij is één van de meesterwerken hier gemaakt. De serie wordt wereldwijd geroemd om haar precisie in sfeer, atmosfeer en kleurstelling. Het zijn als ware transecten, doorsneden, die ons vertellen in welke fase het bos zich bevindt, hoe oud het bos is, hoe haar structuur, welke boomsoorten er groeien en hoe de groeiomstandigheden zijn.

Kan het een inspiratie zijn om voortaan (naast een woordenpalet) een kleurenpalet toe te voegen aan elk jaarverslag? Met één blik het interieur vangen. Indien zo, laat dan Cézanne dé inspirators zijn, de meester van de diagnose.

Van Ruisdael dag

ruisdael_d-scaled
Jacob van Ruisdael (1670). Wheat Fields [Oil on canvas, 100 x 130.2 cm]. New York: Metropolitan Museum of Art.
Een luchtje scheppen is goed, zeker na een week CNN #ElectionDay. Ik moest denken aan mijn laatste bezoek aan New York, toen ik oog in oog stond met deze Van Ruisdael (met daarna een rondje Central Park). Het is vandaag de combinatie van het gevoel van deel zijn van een veel groter geheel, uitwaaien, op adem komen, een frisse neus halen en reflectie. Het is vandaag, zondag ook, een echte Van Ruisdael-dag.