Nice to meet you
My name is Petr Jira
I was born in Hradec Kralove (Czech Republic) in march 1963 behind de communist Iron Curtain. My parents were creative and my mother was fond of drawing and painting while my father loved improvisation Jazz music and played piano.
After we emigrated to the Netherlands in 1969 I development a sense of drawing. My father became an architect engineer machinery and I was always watching him standing in front of his drawing board.
I admire three-dimensionality and colors in a work. My dream to become an expressive artist was overtaken by the fascination of the human body (as Leonardo Da Vinci) and I became a medical doctor. On my international congress trips I had to see every modern art museum.
And then it happened in December 2009 visiting the Hirshhorn Museum in Washington; face to face with the work of Willem de Kooning I was blown away.
With trembling fingers I made the hazy picture as shown.
Proud that this dutch artist made world fame and was one of the founders of abstract expressionism as show below. The academy of art in Rotterdam bears his name.
Knowing from that second that Abstract Expressionism would stay forever in my heart. I studied all the abstract expressionists and during Corona Pandemic and decided to start painting in a small barn next to our house. My first 100 pieces aimed on colors, stroke, depth, materials, size of the canvas and composition. I will continue in making abstract composition and try to express what keeps me inspiring me in this colourful journey.
This broad movement in American painting began in the late 1940s and became a dominant trend in Western painting during the 1950s. The most prominent American Abstract Expressionist painters were Jackson Pollock, Willem de Kooning, Franz Kline and Mark Rothko. Others included Joan Mitchell, Clyfford Still, Helen Frankenthaler, Lee Krasner. Most of these artists worked, lived, or exhibited in New York.
Although it is the accepted designation. Abstract Expressionism is not an accurate description of the body of work created by these artists. Indeed, the movement comprised many different painterly styles varying in both technique and quality of expression. Despite this variety, Abstract Expressionist paintings share several broad characteristics. They often use degrees of abstraction; i.e., they depict forms unrealistically or, at the extreme end, forms not drawn from the visible world (nonobjective). They emphasize free, spontaneous, and personal emotional expression, and they exercise considerable freedom of technique and execution to attain this goal, with a particular emphasis laid on the exploitation of the variable physical character of paint to evoke expressive qualities (e.g., sensuousness, dynamism, violence, mystery, lyricism). They show similar emphasis on the unstudied and intuitive application of that paint in a form of psychic improvisation akin to the automatism of the surrealists, with a similar intent of expressing the force of the creative unconscious in art. They display the abandonment of conventionally structured composition built up out of discrete and segregable elements and their replacement with a single unified, undifferentiated field, network, or other image that exists in unstructured space. And finally, the paintings fill large canvases to give these aforementioned visual effects both monumentality and engrossing power.
The early Abstract Expressionists had two notable forerunners: Arshile Gorky, who painted suggestive biomorphic shapes using a free, delicately linear, and liquid paint application; and Hans Hofmann, who used dynamic and strongly textured brushwork in abstract but conventionally composed works. Another important influence on nascent Abstract Expressionism was the arrival on American shores in the late 1930s and early ’40s of a host of Surrealists and other important European avant-garde artists who were fleeing Nazi-dominated Europe. Such artists greatly stimulated the native New York City painters and gave them a more intimate view of the vanguard of European painting. The Abstract Expressionist movement itself is generally regarded as having begun with the paintings done by Jackson Pollock and Willem de Kooning in the late 1940s and early ’50s.
In spite of the diversity of the Abstract Expressionist movement, three general approaches can be distinguished. One, Action painting, is characterized by a loose, rapid, dynamic, or forceful handling of paint in sweeping or slashing brushstrokes and in techniques partially dictated by chance, such as dripping or spilling the paint directly onto the canvas. Pollock first practiced Action painting by dripping commercial paints on raw canvas to build up complex and tangled skeins of paint into exciting and suggestive linear patterns. De Kooning used extremely vigorous and expressive brushstrokes to build up richly coloured and textured images. Kline used powerful, sweeping black strokes on a white canvas to create starkly monumental forms.
The middle ground within Abstract Expressionism is represented by several varied styles, ranging from the more lyrical, delicate imagery and fluid shapes in paintings by Guston and Frankenthaler to the more clearly structured, forceful, almost calligraphic pictures of Motherwell and Gottlieb.
The third and least emotionally expressive approach was that of Rothko, Newman, and Reinhardt. These painters used large areas, or fields, of flat colour and thin, diaphanous paint to achieve quiet, subtle, almost meditative effects. The outstanding colour-field painter was Rothko, most of whose works consist of large-scale combinations of soft-edged, solidly coloured rectangular areas that tend to shimmer and resonate.
Abstract Expressionism had a great impact on both the American and European art scenes during the 1950s. Indeed, the movement marked the shift of the creative centre of modern painting from Paris to New York City in the postwar decades. In the course of the 1950s, the movement’s younger followers increasingly followed the lead of the colour-field painters and, by 1960, its participants had generally drifted away from the highly charged expressiveness of the Action painters.
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5258 BG Berlicum
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