Jos van Dijk - Circa 1950, panoramic oil painting "Evening at Kortenhoef", signed - Sold
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- Description
- Jos van Dijk (1913-2000)
| Type of artwork | Painting |
| Period | 1900 to 1944 |
| Technique | Oil paint |
| Support | Canvas |
| Framed | Not framed |
| Dimensions | 20 x 80 cm (h x w) |
| Signed | Hand signed |
Translated with Google Translate. Original text show .
- Dijk, Johannes (Jos) van; was born on 23 December 1913 in Bolsward. He worked in Amsterdam, among other places. Pupil of HA van der Wal (Amsterdam), of the State Normal School for Drawing Teachers and of the State Academy in Amsterdam. He painted, drew and etched figures, portraits, harbour views, landscapes and many farms. Jos (Johannes) van Dijk was born on 23 December 1913 in Bolsward, as the son of Dirk van Dijk and Aaltje Mollinga. Education: • Amsterdam Graphic School, diploma graphic designer 1938 • Private lessons Jan Pieké 1941 – 1943 • Private lessons Prof H. vd Wal 1941 – 1944 • Rijks Normaal School certificate Drawing Education MO 1944 • Rijksacademie Stadhouderskade 1943 – 1945 • After the Second World War less than 1 year at the Sorbonne Paris (until his money ran out) Jos van Dijk has been crazy about drawing and painting from a very young age. He was dyslexic all his life, which is evident from the spelling mistakes he made in his drawings. His oldest preserved drawings date from 1920, when he was only 7 years old. His parents moved to Amsterdam when he was still very young (around 1920). His first preserved drawing of Amsterdam dates from 1927 (14 years old). Even before that time he regularly travelled through the Netherlands and drew in Friesland, Drenthe, Gelderland and North Brabant. One of his preferences concerns snow landscapes, the oldest drawings of which date from 1928. He was so enthusiastic about them that he literally wrote on one of those drawings that he could not stop drawing because of the snow. His parents went on holiday to the coast, where he also enjoyed drawing. The oldest preserved drawing of which he painted a small painting on commission dates from 1933. He was not yet twenty years old at the time. Jos van Dijk was able to avoid military service during the Second World War, possibly because he had followed his formal education then. His drawings show that he was still able to travel through the Netherlands. He further completes his sketches in nature by going to Artis to “get the details of the animals right”, as he himself wrote on a drawing. During the war he sometimes draws together with Abraham (Bram) Segaar (1888 – 1962) on the Nieuwkoopse plassen. Jos van Dijk was part of the Cobra group for a short time from 1948 and knew Karel Appel, Corneille etc. personally. Although his paintings from that period are in Cobra style, because that sold better at the time, he continued to draw figuratively. From the mid-fifties to the early sixties he made several expeditions to the Sahara. He then painted less for sale. As a parting gift for his first expedition, a friendly dealer was allowed to choose a painting. This painting then ended up in the Guggenheim in New York. His first Sahara expedition was with an MG sports car. During that trip he photographed the sports car in the desert together with Tuaregs. These photos were used in the MG brochures in the Netherlands. In this way he had several sponsors for his Sahara expeditions. Due to the low ground clearance of the MG portwagen he quickly got stuck in the sand. He therefore bought a Land Rover for his next expeditions. He made several expeditions through the Sahara of Morocco, Algeria, Mali (including the legendary Timbuktu. He found Timbuktu disappointing), Libya to Chad (Lake Chad) and even once to Egypt. These expeditions followed shortly after the independence of those countries. This is partly the reason why he always talked about the Sahara and not about the individual North African countries he had visited. He could tell a great story about how the new rulers enjoyed making Westerners wait long at the borders, about how he drove over slopes with Tuareg guides because the maps were not reliable enough (and there was no satellite navigation), about how he could get by with super strong tea with little moisture, etc. He had already seen the now famous rock drawings in Tadrart Acacus before they were known in the West. He says he regrets not having made those rock drawings known himself. His photos had no time indication and therefore did not provide proof that he had been there earlier. Another traveler after him took the credit. These expeditions were a great source of pride (and stories) for him until the end of his life. In between these expeditions he went one temperature extreme after another, a trip with the Norwegian Hurtigruten to the North Cape in the winter. This trip was partly sponsored by a battery manufacturer he knew from the Sahara expeditions. Sometimes he stayed in Spain after the expeditions, usually he returned to the Netherlands. During that time he also made drawings and paintings of Spain. He gave lectures about his expeditions for the AVRO. Cars were not very reliable at the time. The expeditions drove with at least two vehicles. The team included a doctor and usually a mechanic. He also gave lectures in art circles to finance his expeditions (and livelihood). Back in the Netherlands he had a sailing yacht built around 1968 according to his own design, the Windrack. The home port of his botter was Monnickendam. At that time he had a studio near the Sint Olafs chapel in Amsterdam. His studio was poorly insulated and therefore cold in the winter, but that was no problem. After all, Jos van Dijk had often drawn snowy landscapes outside, so he could withstand the cold. His studio was on the first floor. It was a simple building, it used the walls of the adjacent buildings. Those buildings had sunk independently of each other, which is why the floors of his studio were crooked. In order to level the floor somewhat, he used many of his drawings, he himself said decimetres thick. The balcony of his studio looked out onto a sewing studio. Sis worked there, applying applications to clothing. That is how he met his second wife Sis (or Sisca, officially Francisca Maria) Kesseler in the mid-sixties. After living together for years, Jos van Dijk married Sis Kesseler on 5 July 1978. It was his second marriage. He had a son and a daughter from his first marriage. His son emigrated to New Zealand. The divorce from his first marriage was so painful that he never spoke about it. Contact with his son in New Zealand was restored many years later. His son visited him when he returned to the Netherlands once. His son also received paintings, one of which ended up in a museum in New Zealand. Something that Jos van Dijk was also proud of. Jos van Dijk bought a caravan in the seventies as a second home in Hulshorst. This was his beloved region that he still knew from his youth. He found a lot of inspiration for paintings, etchings and pen wash drawings there. Back in the Netherlands he did most of his work, until well after his retirement. After his retirement, that is to say after his 65th birthday, he gave up his studio and continued to work in a very small attic room on the Bos en Lommerweg 123, three floors up. When he became increasingly less mobile after a fall and knee injury at his caravan, he continued to paint, draw and etch in his attic. He used his old drawings as inspiration for this because he could no longer go out by himself. His second wife never learned to drive. Jos van Dijk died in Amsterdam on October 26, 1998. That was his wife's birthday.
| Condition | |||||||||||
| Condition | Good | ||||||||||
| Shipment | |||||||||||
| Pick up | The work can be picked up on location. As a buyer you must bring your own packaging materials. The location is: Purmerend, The Netherlands | ||||||||||
| Shipment | Parcel post | ||||||||||
| Price | > 10KG or bigger than 1.00 x 0.50 meter
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| Guarantee | |||||||||||
| Guarantee | By putting the item up for auction, I agree with the Terms of Guarantee as they are applicable at Kunstveiling regarding the accuracy of the description of the item | ||||||||||
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Dutch