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拍品专文
From 1913 onwards Van der Leck would concentrate on anecdotical subjects from daily life, showing a strong social awareness: paintings with beggars and blinds, soldiers, workers and women at the market. Van der Leck believed "dat hoe meer men de werkelijkheid met gewoone menschenoogen bekijkt, hoe dieper men het leven in zijn eigen waarheid peilen kan", like he wrote in a letter to Mrs Kröller-Müller in 1914. Reality was to him a high level of social reality.
Van der Leck's ideal of a new society stimulated his search for a new image of man: a simple, universally valid and understandible identity that would stress the unity of mankind. Over time, Van der Leck came to a formalized monumental realism. From 1912 onwards the background of his paintings was white, suggesting a wall. The figures gradually became freestanding and arranged in one plane according to Egyptian principles. Any kind of perspective was being avoided. During the years 1912-1915 this evolution of abstraction continued. At the same time he started to experiment with a new technique: casein-paint, in order to give the spectator the impression that the picture is part of a wall. Colour would follow form, which was strongly simplified. (Exh.cat. 'Bart van der Leck: 'een toepassend kunstenaar', Otterlo 1994, pp. 143-145)
Among the group of notables that formed the followers of the art critic H.P. Bremmer was a Rotterdam family who followed his classes with great enthusiasm. On the insistence of Bremmer in 1913, they bought Van der Leck's The Need. This work formed part of a group of works which Van der Leck had sent to Bremmer in 1913. Bremmer, in turn, rapidly sold the works on to his followers, among which he counted Mrs. Kröller-Müller. Because the sales where so successful, Bremmer decided to appoint the painter an annual allowance.
Van der Leck's ideal of a new society stimulated his search for a new image of man: a simple, universally valid and understandible identity that would stress the unity of mankind. Over time, Van der Leck came to a formalized monumental realism. From 1912 onwards the background of his paintings was white, suggesting a wall. The figures gradually became freestanding and arranged in one plane according to Egyptian principles. Any kind of perspective was being avoided. During the years 1912-1915 this evolution of abstraction continued. At the same time he started to experiment with a new technique: casein-paint, in order to give the spectator the impression that the picture is part of a wall. Colour would follow form, which was strongly simplified. (Exh.cat. 'Bart van der Leck: 'een toepassend kunstenaar', Otterlo 1994, pp. 143-145)
Among the group of notables that formed the followers of the art critic H.P. Bremmer was a Rotterdam family who followed his classes with great enthusiasm. On the insistence of Bremmer in 1913, they bought Van der Leck's The Need. This work formed part of a group of works which Van der Leck had sent to Bremmer in 1913. Bremmer, in turn, rapidly sold the works on to his followers, among which he counted Mrs. Kröller-Müller. Because the sales where so successful, Bremmer decided to appoint the painter an annual allowance.