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Jacoba van Heemskerck van Beest artwork • painting • previously for sale Parkview, Domburg

Heemskerck van Beest J.B. van | 'Jacoba' Berendina van Heemskerck van Beest, Parkview, Domburg, oil on board 45.0 x 51.0 cm, painted ca. 1911-1912
Heemskerck van Beest J.B. van | 'Jacoba' Berendina van Heemskerck van Beest, Parkview, Domburg, oil on board 45.0 x 51.0 cm, painted ca. 1911-1912

Jacoba van Heemskerck van Beest

Parkview, Domburg
oil on board 45.0 x 51.0 cm, painted ca. 1911-1912

This painting was previously for sale.

Provenance: coll. Paul Citroen; Kunsthandel Wending (Adriaan Venema), Amsterdam, 1981; part. coll. Nederland.
Literature: Herwarth Walden (red.), 'Jacoba van Heemskerck', 'Sturm-Bilderbuch', Vol. VII, Berlijn 1924; Herwarth Walden (red.), 'Sturm-Bilderbuch', Vol VII, Berlijn 1924, herdruk door Kunsthandel Wending, Amsterdam, 1981, afb. in kleur (als 'View of Domburg'); A.H. Huussen jr., J.F.A. van Paaschen-Louwerse, 'Jacoba van Heemskerck van Beest (1876-1923). Schilderes uit roeping', Zwolle 2005, pag. 46, afb. 52 (in kleur) en pag. 229, cat.nr. 8 (met afb.).
Exhibited: Amsterdam, Kunsthandel Wending, 'Jacoba van Heemskerck', 1981; Marie Tak van Poortvliet Museum Domburg, 1994; Den Haag, Gemeentemuseum, 'Jacoba van Heemskerck: een herontdekking', 27 aug.-21 nov. 2005; Heino, Museum De Fundatie/Het Nijenhuis, 'De lyriek van het landschap – 100 jaar expressionistische landschapsschilderkunst in Nederland, 30 april-2 okt. 2016.

Jacoba van Heemskerck’s work reveals a great affinity with German Expressionism and Kandinsky’s abstract art, particularly when in Berlin, after 1913, when she regularly mixed in the avant-garde circles around Herwarth Walden and his gallery ‘Der Sturm’. There, along with Kandinsky, Marc and Klee, she was seen as one of the great modern artists. Under their influence, she evolved an idiosyncratic form of Expressionism, in which her anthroposophist philosophy played a role. Her paintings and woodcuts clearly reflect an inner spiritual experience. Thus a tree was not painted as she saw it but as her spirit experienced it. She emphasised this break with reality by giving her works numbers instead of a title.


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