Jan Sluijters (1881-1957)

In very good condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The present work by Jan Sluijters was painted circa 1909. At that time he had just met his new love Greet van Cooten. As Greet's parents were against their romance they sometimes left for a short or a longer stay to a place where they could quietly be together. Heeze was one of these resorts. In his professional life he had also just experienced a drastic change. With the allowance he received from the Prix de Rome in 1904 he made some very inspiring journeys to Belgium, Italy, Spain and finally France where he stayed in the exciting city Paris. He saw the current artistic trends and was inspired by the fauvistic movement. When he started to paint in that fashion as well his financial support from the committee was withdrawn. He returned to Holland and started to work at less ambitious projects. From the period 1907-1909 several small sized landscapes are known. These are very interesting as we can follow his development to luminism.

This is a transitional work. If we look through the blossoming branches of the trees in the foreground we see a realisticly painted farm, with details precisely painted in a thin layer of paint such as the styles of the windows, the bench in front of the house and the chart at the side. The foreground however already shows the virtuous luminist painter who would become the most important artist of that movement. His brushstroke is short, snappy and striking. In contrast to the background he applies thicker patches of paint on the canvas which creates depth. The bright white stands out to the softer colours in the background which makes this scene vived and dynamic.