ID: 31534
Omschrijving
unieke tekening van Jan van Fucht.
Grote Kerk Beverwijk
Wijkertoren
Er is weinig werk van hem beschikbaar.
in lijst achter glas met paspartout.
afmetingen 40 x 51 cm
Kan zo opgehangen worden.
exclusief verzendkosten
Verzenden voor risico van de koper
JAN VAN FUCHT,a man of many talents.
Ann SchipperheynIn the 19th century the Zuiderzee was much larger than the present IJsselmeer . Where once the waves lapped, today there are polders. Crossing the Zuiderzee then, was quite an undertaking. Jan van Fuchts grand parents were Friesian and decided to migrate to the province of North Holland. Little did they know that their grandson would cross, not just seas, but oceans time and time again.Several people suggested that artist Jan van Fucht should be included in the series of articles about Dutch artists. Prior to writing this article I received a CD which contained a comprehensive set of images of Jan van Fuchts paintings. These gave us some idea of the standard, variety of subject matter, mediums of Jans work. I visited him at his home soon afterwards, where I could view his work first hand.---------------------------------------------Jan was born in 1926, in Beverwijk, one of five children. It was an artistic family, one of Jans brothers is a highly respected, talented, sculptor in The Netherlands. At a very early age Jan knew what he wanted to do when he grew up: to become an artist. Because of economic necessity in the family Jan worked as an apprentice house painter at the age of 14 on building projects.The new walls were hard-plaster. At the end of one working day Jan was left on his own and could not resist the temptation. Faced with such a lovely large blank surface, he drew large images all over the wall. His boss was not amused and kept a close watch on him after that, this did not prevent Jan from making sketches whenever the opportunity arose. It was recognised that Jan was exceptionally talented, so arrangements were made for him to attend drawing classes in Haarlem. Jan only went part time, he continued to work half days, he nevertheless received his Diploma in one year! One of his drawings, still in Jans possession, shows how much talent and skill he had at the age of 16. After finishing that course Jan was accepted into the Institute of Fine Arts in Amsterdam. It was towards the end of W.W. II when food was very scarce. One day Jan was able to exchange one of his watercolours for a sack of potatoes. The farmer must have had an eye for talent and one wonders what may has become of that painting.Not long after the war, Jan was called up for National Service. It soon became apparent that Jan was really not soldier material. One day all the recruits were sent on a march across the fields. As usual, Jans mind was elsewhere and when he caught sight of a perfect dew-drop, he stopped in his track, thereby throwing the line of marching soldiers in disarray.It was decided to send the unit Jan was part off to the then Dutch East Indies, now Indonesia. Jan, in the meantime had been transferred to a theatre group which had been formed and was to be sent to Indonesia for the purpose of entertaining the troops. The theatre group included some excellent actors and a well known conjurer, Fred Kaps, Jan was asked to design , build and fit out a stage-van. Originally Jan and the van were to travel by cargo ship, but as he was a soldier the plans were changed and they went on the Johan van Oldenbarneveldt. Jan was not impressed with the crowded dormitories but his talents were soon recognised by the ships captain for whom Jan designed and created special Awards certificates, for which he required space. Jan received permission to use the officers dining room as his studio, enjoyed the meals served there and was given nicer accommodation, making the voyage very pleasant. Once in Indonesia the van with its crew travelled around and put on shows while Jan painted murals on the walls of a number of canteens.After his tour of duty finished, in 1950, Jan returned to Holland and went back to school until 1951. Jan was soon after offered a job, which would have taken him back to Indonesia but to his disappointment the job fell through at the last moment. Undeterred, Jan discovered a German bunker in the dunes, which he, with the permission of the Burgemeester [Mayor] of Beverwijk, turned into a dwelling. Electricity was connected, windows were put in and presto, Jan had his own home and studio.His water colours of fishing boats in IJmuiden and those of the Koninklijke Hoogovens and Staal Fabrieken, (a huge complex of factories and yards), paintings and sketches of the lighthouse, watertower and semaphore, sold readily and brought him to the attention of a Mr. J.H.Verhoog, the person involved in the Promotion Department of the Koninklijke Hoogovens. This led to the first major breakthrough in Jans career. The President Director of the Hoogovens, Dr.A.H.Ingen-Housz was retiring and a special farewell was planned. To mark the occasion it was decided to ask the young Jan van Fucht to create a Panorama of the entire complex and the surrounding area. Jan accepted the commission and based on photographs taken at certain times of the day and combined with personal observation and artistic interpretation of the site, Jan set to work on this gigantic task. The Panorama had to fit into a specific space; an area of 6 metres high and with a diameter of 30 metres and circumference of 95 metres. The panorama was to be painted in sections. Jan first placed the canvasses on the floor and drew the outlines in charcoal, then they were raised into a vertical position. They were flat panels, which later would be joined and turned into a circle. This created a technical problem, straight lines would look curved, so Jan drew them curved and when the panorama was assembled they looked exactly right. Another concern had been that the panels might not fit together and that the images would not match. But Jan had worked everything out to perfection, all he had to do when the panels were put into position was to paint over the seams. Jan did not only include every structure of the Hoogovens site in the complex of 300 hectares, he also showed a birds eye view of the surrounding landmarks, the lighthouse, Velsen with the Provincial Central Power station [P.E.N.] the towers of the Velsen tunnels, Beverwijk churches and other buildings, Wijk aan Zee and the townships of Heemstede, Haarlem and Driehuis. The background of the whole picture was framed by the North Sea, the dune landscape and the North Sea canal. Nothing had been left out. Jan used 50 kilos of paint and it took him only 70 days to create this approximately 500 square metre Panorama. It was an incredible achievement. The Panorama was taken to England for a trade fair where it was very much admired.Jan met his wife in 1956. The bunker was enlarged when a summerhouse was added. Two children were born while they were living in the bunker. But after a very cold winter it was decided to go in search of a better climate, it was then that the family packed their bags and migrated to Australia in 1960. Artists hardly ever have it easy and it took sometime before Jan found suitable employment. After a few interviews Jan was engaged by the television station Channel 7, later at Channel 9 and eventually Channel 0, where he became Supervisor of Scenic Art. In the meantime Jan also had regular exhibitions of his paintings and was involved in the production of an animated film. After six years in Australia the family decided to return to Holland but 2 years later came back to Australia where the film would be marketed. Unfortunately this did not eventuate and Jan had to start from scratch again. This time he found employment with J.C.W., [a theatre company] and created and painted stage props and backdrops. In his spare time he continued to paint and exhibit. One of Jans exhibitions was opened by Lady Dellacombe, the wife of the Governor of Victoria who later sent him a note saying how much she had enjoyed his exhibition.A year or so went by and Jan and his family were back in Holland again. This time Jan found work at the Netherlands Opera and after meeting an Australian colleague, was offered a job in Munchen, Germany, where he was to create scenery for an Australian Ballet production which also included an trip back to Australia. On his return to Holland Jan was employed at the Rotterdam City Theatre, became a member of a Guild and took part in an exhibition in the Stedelijk Museum in Amsterdam.The family moved a few more times and finally to Australia again. Today Jan spends most of his time in his studio, free to paint whatever he likes. He hopes to develop his abstract paintings, which are not only very beautiful but full of meaning. One of his paintings was interpreted as follows: .a surrealist landscape with ruined skeletal fragments of what might have been buildings or some man made structure. There are four nudes. Leah is in the most prominent position, with blackened shapes like burned out steel objects piled on the ground at her feet, with delicate white shapes coming out of it like a flower of hope.Jans abstract paintings display his skills as a draughts man, they have a three dimensional quality and combined with his imagination and originality, they are visually and intellectually challenging and stimulating. He combines elements of symbolism and surrealism and uses exquisite colours in the depiction and development of ideas. Jan may be nearly eighty years old, but he has plenty of creative energy and new ideas to keep him painting and busy for many years to come. Quoting Jan: I still hope to create my master-piece. My abstract work provides so many opportunities so: stoppen is er niet bij stopping is not a consideration Landscapes, streetscapes, still-lives, coastal scenes, stage sets, nudes, realism, portraits, abstracts, symbolism, surrealism, miniatures and gigantic paintings are all in a days work for Jan. No doubt the drawing classes he attended as a boy stood him in good stead no time is wasted trying to figure out how something has to be done. The students in his art classes at Clayton are fortunate to have such an experienced artist as their teacher. Keep well Jan, we look forward to seeing the next stage of your creative output!
Grote Kerk Beverwijk
Wijkertoren
Er is weinig werk van hem beschikbaar.
in lijst achter glas met paspartout.
afmetingen 40 x 51 cm
Kan zo opgehangen worden.
exclusief verzendkosten
Verzenden voor risico van de koper
JAN VAN FUCHT,a man of many talents.
Ann SchipperheynIn the 19th century the Zuiderzee was much larger than the present IJsselmeer . Where once the waves lapped, today there are polders. Crossing the Zuiderzee then, was quite an undertaking. Jan van Fuchts grand parents were Friesian and decided to migrate to the province of North Holland. Little did they know that their grandson would cross, not just seas, but oceans time and time again.Several people suggested that artist Jan van Fucht should be included in the series of articles about Dutch artists. Prior to writing this article I received a CD which contained a comprehensive set of images of Jan van Fuchts paintings. These gave us some idea of the standard, variety of subject matter, mediums of Jans work. I visited him at his home soon afterwards, where I could view his work first hand.---------------------------------------------Jan was born in 1926, in Beverwijk, one of five children. It was an artistic family, one of Jans brothers is a highly respected, talented, sculptor in The Netherlands. At a very early age Jan knew what he wanted to do when he grew up: to become an artist. Because of economic necessity in the family Jan worked as an apprentice house painter at the age of 14 on building projects.The new walls were hard-plaster. At the end of one working day Jan was left on his own and could not resist the temptation. Faced with such a lovely large blank surface, he drew large images all over the wall. His boss was not amused and kept a close watch on him after that, this did not prevent Jan from making sketches whenever the opportunity arose. It was recognised that Jan was exceptionally talented, so arrangements were made for him to attend drawing classes in Haarlem. Jan only went part time, he continued to work half days, he nevertheless received his Diploma in one year! One of his drawings, still in Jans possession, shows how much talent and skill he had at the age of 16. After finishing that course Jan was accepted into the Institute of Fine Arts in Amsterdam. It was towards the end of W.W. II when food was very scarce. One day Jan was able to exchange one of his watercolours for a sack of potatoes. The farmer must have had an eye for talent and one wonders what may has become of that painting.Not long after the war, Jan was called up for National Service. It soon became apparent that Jan was really not soldier material. One day all the recruits were sent on a march across the fields. As usual, Jans mind was elsewhere and when he caught sight of a perfect dew-drop, he stopped in his track, thereby throwing the line of marching soldiers in disarray.It was decided to send the unit Jan was part off to the then Dutch East Indies, now Indonesia. Jan, in the meantime had been transferred to a theatre group which had been formed and was to be sent to Indonesia for the purpose of entertaining the troops. The theatre group included some excellent actors and a well known conjurer, Fred Kaps, Jan was asked to design , build and fit out a stage-van. Originally Jan and the van were to travel by cargo ship, but as he was a soldier the plans were changed and they went on the Johan van Oldenbarneveldt. Jan was not impressed with the crowded dormitories but his talents were soon recognised by the ships captain for whom Jan designed and created special Awards certificates, for which he required space. Jan received permission to use the officers dining room as his studio, enjoyed the meals served there and was given nicer accommodation, making the voyage very pleasant. Once in Indonesia the van with its crew travelled around and put on shows while Jan painted murals on the walls of a number of canteens.After his tour of duty finished, in 1950, Jan returned to Holland and went back to school until 1951. Jan was soon after offered a job, which would have taken him back to Indonesia but to his disappointment the job fell through at the last moment. Undeterred, Jan discovered a German bunker in the dunes, which he, with the permission of the Burgemeester [Mayor] of Beverwijk, turned into a dwelling. Electricity was connected, windows were put in and presto, Jan had his own home and studio.His water colours of fishing boats in IJmuiden and those of the Koninklijke Hoogovens and Staal Fabrieken, (a huge complex of factories and yards), paintings and sketches of the lighthouse, watertower and semaphore, sold readily and brought him to the attention of a Mr. J.H.Verhoog, the person involved in the Promotion Department of the Koninklijke Hoogovens. This led to the first major breakthrough in Jans career. The President Director of the Hoogovens, Dr.A.H.Ingen-Housz was retiring and a special farewell was planned. To mark the occasion it was decided to ask the young Jan van Fucht to create a Panorama of the entire complex and the surrounding area. Jan accepted the commission and based on photographs taken at certain times of the day and combined with personal observation and artistic interpretation of the site, Jan set to work on this gigantic task. The Panorama had to fit into a specific space; an area of 6 metres high and with a diameter of 30 metres and circumference of 95 metres. The panorama was to be painted in sections. Jan first placed the canvasses on the floor and drew the outlines in charcoal, then they were raised into a vertical position. They were flat panels, which later would be joined and turned into a circle. This created a technical problem, straight lines would look curved, so Jan drew them curved and when the panorama was assembled they looked exactly right. Another concern had been that the panels might not fit together and that the images would not match. But Jan had worked everything out to perfection, all he had to do when the panels were put into position was to paint over the seams. Jan did not only include every structure of the Hoogovens site in the complex of 300 hectares, he also showed a birds eye view of the surrounding landmarks, the lighthouse, Velsen with the Provincial Central Power station [P.E.N.] the towers of the Velsen tunnels, Beverwijk churches and other buildings, Wijk aan Zee and the townships of Heemstede, Haarlem and Driehuis. The background of the whole picture was framed by the North Sea, the dune landscape and the North Sea canal. Nothing had been left out. Jan used 50 kilos of paint and it took him only 70 days to create this approximately 500 square metre Panorama. It was an incredible achievement. The Panorama was taken to England for a trade fair where it was very much admired.Jan met his wife in 1956. The bunker was enlarged when a summerhouse was added. Two children were born while they were living in the bunker. But after a very cold winter it was decided to go in search of a better climate, it was then that the family packed their bags and migrated to Australia in 1960. Artists hardly ever have it easy and it took sometime before Jan found suitable employment. After a few interviews Jan was engaged by the television station Channel 7, later at Channel 9 and eventually Channel 0, where he became Supervisor of Scenic Art. In the meantime Jan also had regular exhibitions of his paintings and was involved in the production of an animated film. After six years in Australia the family decided to return to Holland but 2 years later came back to Australia where the film would be marketed. Unfortunately this did not eventuate and Jan had to start from scratch again. This time he found employment with J.C.W., [a theatre company] and created and painted stage props and backdrops. In his spare time he continued to paint and exhibit. One of Jans exhibitions was opened by Lady Dellacombe, the wife of the Governor of Victoria who later sent him a note saying how much she had enjoyed his exhibition.A year or so went by and Jan and his family were back in Holland again. This time Jan found work at the Netherlands Opera and after meeting an Australian colleague, was offered a job in Munchen, Germany, where he was to create scenery for an Australian Ballet production which also included an trip back to Australia. On his return to Holland Jan was employed at the Rotterdam City Theatre, became a member of a Guild and took part in an exhibition in the Stedelijk Museum in Amsterdam.The family moved a few more times and finally to Australia again. Today Jan spends most of his time in his studio, free to paint whatever he likes. He hopes to develop his abstract paintings, which are not only very beautiful but full of meaning. One of his paintings was interpreted as follows: .a surrealist landscape with ruined skeletal fragments of what might have been buildings or some man made structure. There are four nudes. Leah is in the most prominent position, with blackened shapes like burned out steel objects piled on the ground at her feet, with delicate white shapes coming out of it like a flower of hope.Jans abstract paintings display his skills as a draughts man, they have a three dimensional quality and combined with his imagination and originality, they are visually and intellectually challenging and stimulating. He combines elements of symbolism and surrealism and uses exquisite colours in the depiction and development of ideas. Jan may be nearly eighty years old, but he has plenty of creative energy and new ideas to keep him painting and busy for many years to come. Quoting Jan: I still hope to create my master-piece. My abstract work provides so many opportunities so: stoppen is er niet bij stopping is not a consideration Landscapes, streetscapes, still-lives, coastal scenes, stage sets, nudes, realism, portraits, abstracts, symbolism, surrealism, miniatures and gigantic paintings are all in a days work for Jan. No doubt the drawing classes he attended as a boy stood him in good stead no time is wasted trying to figure out how something has to be done. The students in his art classes at Clayton are fortunate to have such an experienced artist as their teacher. Keep well Jan, we look forward to seeing the next stage of your creative output!