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拍品專文
"I've always wanted to see what is behind the next hill, and that makes one into a landscape painter - and I do think Bali deserves a landscape painter... I like solitary things when I paint and I like to be alone. I also love architecture and I find that the firm and beautiful shape of a temple in a landscape sets off the two." - Arie Smit
Born in Zaandam in the Netherlands in 1916, Arie Smit studied design at the Academy of Arts in Rotterdam. Smit came to Indonesia in 1938 for his obligatory military service where he made maps of the Indonesian archipelago. He was captured by the Japanese during the Second World War and had to work in several camps in Singapore, Burma and Thailand. Through the war years, Smit did not lose his passion for the Dutch East Indies though his ultimate destination was Bali where he had heard and read about. The art dealer and collector Jimmy Pandy facilitated his first trip to Bali in 1956. Smit was not to be disappointed once he had found Bali.
Balinese life, landscape and architecture were of immense interest for Smit. Pura Dan Pohon (Temple Gate) (Lot 266) and Balinese Landscape (Lot 267) are two exemplary works. The rich, layered colours of the temple and its surrounding, applied in briskly applied stipples by Smit in his signature broken colours style demonstrate a technical maturity matched by few other painters. Balinese Landscape, painted in the 1960s, takes a high vantage point and depicts the rolling rice terraces of Bali, interspersed by coconut trees.
Light is of great interest to an artist, especially artists in the tropics who paint under the strong light of the tropical sun. Smit has spent the larger part of his artistic career trying to capture what has been described as the 'riotous light in Bali'. The artist has developed what he terms the technique of broken colours, where he applies mosaic-like stipples of paint, each brushstroke building upon the previous while not completely covering the layer underneath. This is seen most clearly in Pura Dan Pohon (Temple Gate).
Smit often experiments with his style to show refreshing new views of familiar scenes. His works evoke the light and colors of 19th century impressionist style, but he almost never paints on location. Smit would sketch outdoor and then return to his studio to complete works. Elements of early 20th century Fauvism also appear in his works, but his unique stylistic features are which he developed while living and working in Bali.
Born in Zaandam in the Netherlands in 1916, Arie Smit studied design at the Academy of Arts in Rotterdam. Smit came to Indonesia in 1938 for his obligatory military service where he made maps of the Indonesian archipelago. He was captured by the Japanese during the Second World War and had to work in several camps in Singapore, Burma and Thailand. Through the war years, Smit did not lose his passion for the Dutch East Indies though his ultimate destination was Bali where he had heard and read about. The art dealer and collector Jimmy Pandy facilitated his first trip to Bali in 1956. Smit was not to be disappointed once he had found Bali.
Balinese life, landscape and architecture were of immense interest for Smit. Pura Dan Pohon (Temple Gate) (Lot 266) and Balinese Landscape (Lot 267) are two exemplary works. The rich, layered colours of the temple and its surrounding, applied in briskly applied stipples by Smit in his signature broken colours style demonstrate a technical maturity matched by few other painters. Balinese Landscape, painted in the 1960s, takes a high vantage point and depicts the rolling rice terraces of Bali, interspersed by coconut trees.
Light is of great interest to an artist, especially artists in the tropics who paint under the strong light of the tropical sun. Smit has spent the larger part of his artistic career trying to capture what has been described as the 'riotous light in Bali'. The artist has developed what he terms the technique of broken colours, where he applies mosaic-like stipples of paint, each brushstroke building upon the previous while not completely covering the layer underneath. This is seen most clearly in Pura Dan Pohon (Temple Gate).
Smit often experiments with his style to show refreshing new views of familiar scenes. His works evoke the light and colors of 19th century impressionist style, but he almost never paints on location. Smit would sketch outdoor and then return to his studio to complete works. Elements of early 20th century Fauvism also appear in his works, but his unique stylistic features are which he developed while living and working in Bali.