World Fine Art Professionals and their Key-Pieces, 20 – Patries Landwehr

“Nulla dies sine linea”, no day without drawing a line. It is this motto that Patries Landwehr internalized. She picked it up from the collected works of the painter Adriaen Bloemaert, one of her heroes. ‘I paint every day, mainly because I like to paint.’

Her work mirrors the her great examples: Bloemaert, Rembrandt and van Gogh; but mostly the German painter, draftsman, creator of woodcuts and engravings Albrecht Dürer. She prefers to work with oil paint. ‘You have to mix oil paint. The result is never the same. The use of pasty, thick dots was inspired by Van Gogh.’

The Ship of Fools

Dürer illustrated the medieval treatise The Ship of Fools written by S. Brandt (1494) by using woodcuts. ‘I love the Ship of Fools’, says Patries. ‘I love old books, and at one point I found a book with images of woodcuts attributed to Dürer. When I went to study them more closely, I saw how brilliant his compositions are. I fell in love with his work and set out to emulate his technique.’

In the years 2010 and 2011 Patries Landwehr made a series of paintings in response to the “Ship of Fools”. ‘The Fool symbolizes the benevolent and well-meaning man doing his utmost, but who unfortunately regularly finds everything confusing. What fascinates me is people and their craziness.’

‘You still see these kind of situations. On one of the paintings you see a jester who warms his hand to the fire. I painted his robe gray. A pair of hands has become completely gray because he has dropped his colleague in the pit. In another painting someone holds a mirror in front of him. In the mirror he sees the world.’  

An emotion at a glance

The largest project that Landwehr is working on now is titled Automotion. ‘On the Automotion paintings you see an interpretation of an emotion, in which you can see at a glance what emotion it is. It is a long-term project. I’m still working on it. I am concerned about the layering of emotions. Sometimes at first sight you don’t see an emotion, but they are definitely there. ‘

Patries Landwehr worked quite some time in the business world, at a bank, and saw a harsh world. ‘In the business world emotions are often of secondary importance. But it is not that easy. If it becomes frenetic; for example when decisions are made or implemented, those emotions peak quickly through the neutral ‘mask’. Every human being has several sides.’

Until now on many paintings sadness and powerlessness prevail. But in the next automotion pictures I have finished with that. ‘I continue with friendship and love and peculiarities. I’ve had enough of sorrow.’

Origin of Man

Another major project are the paintings with impressions of the origin of man. ‘I began with the Bible, especially the Old Testament. On the first painting you see the first day, the day in which light was separated from darkness, on the second ‘the spirit of Eve’, the third ‘Adam in the making’, the fourth ‘the proclamation of the good news’. ‘

You see Jesus being born, the whore of Babylon, the angel with the wheel, and also someone who comes from a red door. Landwehr: ‘The hebrew letter dalet is also delet, meaning door. Jesus says: ‘I am the door’, the way to God is through this door.  Furthermore there is a sectional view of a pomegranate, appearing, anatomically, as a full stomach. The jewish interpretation of the apple of good and evil is that it is really a pomegranate, in which good and evil is mixed. Jesus also said: not what goes into your mouth makes someone unclean, but what goes out of your mouth. This is symbolized by the pomegranate.’

Mosaics

And further Landwehr makes mosaics. ‘These are journeys for me, when I get wobbly from painting. I bought glass mosaics in a jar. There were only a few colors. The challenge for me was to do a mosaic with the colors I had. Like in the mosaic of Japanese ladies that I made in response to an earlier work of mine. The mosaic image of the bull dancer is taken from a drawing from the Picasso Museum in Paris.

Patries Landwehr has been a student of the Art Academy of Arendonk (Belgium). Her main subject was painting and in addition art history. She also studied many old Dutch drawing books and old engravings from he period 1600 – 1700.

Kubra

She is a member of Kubra, an art collective in Brabant. Kubra has an exhibition space in Den Bosch, the Hinthamerstraat. ‘It is a nice collective that was created by Brabant artists for Brabant artists. In January and February this year we had an exposition of 23 affiliated artists. A lot of people came. We are looking for nice rooms in Brabant for exhibitions, like castles or former factory spaces. We work very well together. If there is an exhibition, the participants must act once as ‘attendent’. ‘

In addition, she participates in the online program ‘Overdekunst’ of Ella Arps.

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Nederland

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