Life and Work of Jaap Schreurs (1913-1983) Painter and father |
|
|
|
Themes and techniques throughout the years |
|
|
Themes |
Ego issues |
Jaap was an outspoken supporter of any |
||||
women's emancipation. His attitude was |
|||||
always serving and caring, but without |
|||||
loss of selfhood – he didn’t sacrifice |
|||||
|
|
himself in a servile way. In this respect, |
|||
|
|
he was an example for his daughters. |
|||
|
|
|
|
||
|
facial expression |
From the way faces are depicted, one can |
|||
|
|
get an impression of what people may be |
|||
|
|
thinking, which in turn can give one a |
|||
|
|
sense of the temperament or character |
Choir of Priests 1 and 2 |
||
|
|
of the person portrayed. |
|
||
|
|
|
|
||
|
feet |
We often see in Jaap’s work a strong |
|||
|
|
enlargement of feet. |
|||
|
|
||||
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
crucifixion |
|
|||
|
hands |
We often see extra attention being paid |
|||
|
|
to the hands, delicate or otherwise, as a |
|||
|
|
personal characteristic. |
|||
|
|
||||
|
|
||||
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
dogs |
||||
|
|
||||
|
|
||||
|
|
||||
|
|
||||
|
|
|
|||
|
|
|
|||
|
horses |
||||
|
|
||||
|
|
||||
|
|
Horse with human eyes 1 , 2 ,3 , 4 |
|||
|
|
|
|||
|
double moral |
||||
|
standard |
|
|
|
|
|
|
||||
|
|
||||
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Working with the color yellow |
|
||
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Techniques |
|
|
Around his twelfth year, Jaap noticed there |
|
||
|
|
was‘something’ with his eye. Further |
|
|
|
|
investigation showed that already then he had no sight in that eye (anymore). |
|
|
|
|
This loss of sight is reflected in the fact |
|
|
|
that in all his pictures, the perspective is |
|
||
|
|
missing. |
|
|
|
Also at home, when pouring tea, he would |
|
||
|
|
sometimes misjudge the distance to the tea |
|
|
|
|
cup, with the result that the tea ended up |
|
|
|
|
next to the cup. |
|
|
|
|
|
||
|
In Jaap's work, the influence of Erdely's |
|||
|
|
|||
|
|
distinguishable in the way he would work out |
||
|
|
faces into recognizable characters, while their |
||
|
|
clothing remained virtually undifferentiated. |
||
|
|
|
||
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
lithographs |
|
||
|
|
|
|
|
|
Eta paint |
In Utrecht, Jaap became enthusiastic about |
||
|
|
the fast drying time of Eta paint, which was |
||
|
|
released by Talens in the 1950s. |
|
|
|
|
This also changed the smell in his studio. |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Jaap was searching for a way to give the Eta |
|||
|
paint more power of expression. |
|||
|
|
To this end, he mixed the paint with sand in |
||
|
|
some paintings. |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|||
|
|
|
||
|
|
|
||
|
|
|
|
by Nelleke and Paula |
|