Jan Sluijters (1881-1957)

Dr E. Wiener, Amsterdam
Kunstzaal van Lier, Amsterdam
Collection Jan Sluijters Jr., Hilversum
Kunsthandel Scherpel, Bussum
Private Collection, Germany

N. Bakker, Jan Sluijters - Schilder, Mijdrecht 1981, p. 60, illustrated

Very minor retouches in the upper left corner situated 8 cm from the top and 7 cm from the left edge. One retouch in the lower right corner situated 10 cm from the lower and 14 cm from the right edge. Both are only visible under uv-light. There are some hairline cracks under the varnish in the upper left and middle low segment. Otherwise in good condition.
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Sometimes what hides behind a painting can be as interesting as the depiction in the front. The backside of a painting can tell us interesting things about the history of the work. Who were the owners, where was the painting exhibited and sometimes a title or inscription written on the reverse can reveals the identity of the sitter.

In this case three inscriptions are given as hints to what the 'career' of this work has been. The mark of Kunstzaal van Lier, a famous gallery in Amsterdam during the first half of the 20^th century, is written twice on the stretcher which indicates the ownership of Carel van Lier. Another inscription, 'Keizersgr Wiener' refers to one of the other owners of this painting. Thanks to the documentation in the RKD and the help of the Sluijters expert, Jacqueline de Raad, we learn that Sluijters sold ' a standing nude' to Dr Wiener in Amsterdam who apparently lived on the Keizersgracht.

In September 1929 there was an exposition of Sluijters' work in Kunstzaal van Lier. In the catalogue under number 14 a 'nude' is mentioned and the art critic Plasschaert has written on the copy of the RKD behind this title the words 'Een der steriele naakten' meaning 'one of the sterile nudes'. In 1918 Sluijters began to stylise his nudes and depict them in a more decorative setting. From 1918 until 1922 the drawings and paintings show lean and elegant females with elongated limbs in clean and stylish settings (see also lot 15). Even an example of Greet depicted in that way is known. Compared with the other representations of her (see lot 20) this is very different and very typical for his style in this specific period. With today's fashion ideal this kind of woman is appreciated much more than was the case at that time. Some of these paintings were characterized as superficial, sick or sterile[1]. The last remark clearly indicates that this kind of painting was exhibited at the exhibition in Kunstzaal van Lier.

In regards to the sitter, as he painted Greet in that fashion it could well be that he portrayed his wife again. Another possibility is the first wife of Carel van Lier, Kathinka van Lier, who is said to have been one of his favourite models. Sluijters loved her long posture with sloping shoulders and painted her Modigliani-like features on more than one occasion. One of the most well known examples is Het Bruidje (The little Bride), currently in the collection of the Stedelijk Museum in Amsterdam[2]. The relationship between Kathinka and Carel however was complex and a little later even dramatic. Carel's mother was very much opposed to this marriage. In 1920 she could not handle it any longer and drowned herself in a pond. This was a traumatic experience for the children Van Lier, but especially for Carel who must have felt responsible. Three years later Carel met Elisabeth van de Velde (sister of the artist Henri van de Velde) with whom he became romantically involved. Kathinka filed for divorce which was effected in 1924. Taking this dramatic situation into account it is puzzling that he possessed the painting after 1924 but as we can not fathom his feelings and ideas especially in regards to his business, we are left with only speculations.

Turning the painting around again and leaving all speculations behind we 'just' see a stunning image of a beautiful nude woman. The use of colour has been tempered when comparing it to his luministic period. Soft pink, violet, green, blue and turquoise is used with only a few bright spots underlining the soft curve of her buttocks, bosom and lips, which turns this image into a sensual portrait. The size, condition and artistic quality make this painting monumental and the mystery of the history and sitter a romantic challenge. 

[1] Anita Hopmans, exh.cat. Jan Sluijters 1881-1957: Aquarellen en tekeningen, Zwolle 1991, p. 172

[2] Bas C. van Lier, Carel van Lier: Kunsthandelaar, wegbereider 1897-1945, Bussum 2003, p. 12