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Rosat Art
Product description
Hans Beers (1946) Artist : Hans Beers XX born 1946 Magnificent original work in abstract gouache, very colorful and of high quality. A SUBLIME WORK This piece must date from the early 1970s Dimensions 63cm high x 46cm wide Sold unframed. - I was lucky enough to buy this artist's entire studio, 40 years of hard work. Extremely high quality and absolute perfection. The details are the work of a great artist who knows his art perfectly. An artist who is still totally unknown, this is an extraordinary investment, and in several years' time prices will have risen to unaffordable heights. Biography Hans Beers moved from Zevenbergen near Breda to Antwerp. He was looking for a house, studio and gallery, and found them in the quiet Isabella Brantstraat behind the Palace of Justice. This weekend, the art space celebrates its thirtieth anniversary. "It was clear from the start that I would be moving to Antwerp. We moved as students. This lawyers' quarter is almost a village. It hasn't changed much in all that time. The Anselmostraat and the Lange Lozanastraat are the commercial centers of the streets, and silent branches branch off from them. citizen streets". Hans Beers, with gallery Sonja Mertens and Huyse Molensloot, provides art. Every month, he exhibits his own works or those of his colleagues. At the bakery, the print shop, the photo store and the local KBC office, he hangs small works referencing the exhibitions at home. "I can't make a living from it. But from time to time I sell something of myself or of a colleague. I also restore old paintings. It's just livable together. But you can't get me out of here. Life is too pleasant." For his gallery's thirtieth anniversary, Beers is exhibiting recent, almost abstract gouaches and textile works by his own hand, alongside the work of colleagues such as Georgette Dick from De Pinte, Chris Van Buggenhout from Antwerp, Walter Schelfhout from Berlare, André Brener and Rolands Cobbaut from Aalst . Education and training: Studied at the St.-Joost Academy of Fine Arts in Breda. Graduated from this institution with a 5-year diploma in "Monumental Design", including design and execution of architectural works, murals, tapestries, plastics, stained glass and spatial elements. Also obtained a didactic diploma for teaching drawing in Eindhoven. Then a year of interior design at the Academy of Arts in Tilburg. Also took a private course in the restoration of old paintings in Breda. Activities: Founded a youth workshop in North Brabant, where he spent five years drawing, painting and modeling. Also gave occupational therapy to the elderly for two years. Moved to Antwerp and founded the modest Isabella Brant art gallery in 1970. Initially conceived as an exhibition space for other artists, until 1992 it was almost exclusively dedicated to the permanent display of her own work. From 1993 onwards, the gallery began to show work by other artists. Characteristics: Most of the works have a strong symbolic dimension and deal with very universal themes, such as war and peace, the cosmos and the signs of the zodiac, the birth and evolution of man. The work is generally constructed in successive cycles of three to twelve works. The basic techniques used are gouaches, tapestries, batiks, pastels, pen drawings and lacquer paintings. Exhibitions: Bréda, Heusden, Etten-Leur, Zevenbergen, Amsterdam; Antwerp (G.B.Art Gallery; Education Board Hofstraat; C.A.W. Rue de Chêne); Deurne (1974 and 1979, Kunstkamer Manebruges; 1975, Galerij Jordaens); Borgerhout (1978 and 1982, municipal festival hall, Turnhoutsebaan); Zichem (1976, birthplace of E. Claes); Brasschaat (1973, 'Londress' gallery); Ghent (1975, 1976, Abbaye Saint-Pierre, Salon des Arts et Métiers). Antwerp, 1989 "De lagiers" gallery. Wijnegem, 1991 "Molenheide" 1992 Galeria Sala Stephan. Villajoyosa Alicante Costa Blanca Spain. 1993 A.S.L.K Koksijde. 1993 Stones in the miller's house. 1994 Hof De Bist Ekeren. 1994 A.S.L. Koksijde. 1995 Galerie Isabella Brant Antwerp. 1996 Hof de Bist Ekeren Here's the review by an eminent art critic who lived and breathed Hans Beers' work for 40 years Guy van Hoof writes about Hans Beers Here are my impressions of the exhibition at Hof De Bist In 1971, I had the opportunity to present an exhibition of Hans Beers' work, a long time ago! A newspaper wrote at the time that his tapestries and gouaches were presented there much more clearly than in his own I.Brant gallery. And indeed, the space with him is simply smaller, which is why Hans Beers sometimes feels the need to spread his wings, to have his work admired in a different context. It's true that his work is best expressed in an open space, where you can stand back and look at everything one by one. All work separately, while on the other hand this artist works with small series, recurring themes, subjects that have continued to determine the whole of his creative work over the years. Hans Beers has been working here for forty years now, and during the same period he also had his own gallery where he invited other artists and offered them an opportunity. Now he's slowly finding the time to stop, at least with the gallery, but he's become so attached to the place on Isabella Brant Street that he probably won't leave; he's had many experiences and good days there, and he's thinking of exhibiting his work exclusively, permanently or otherwise. This time, he wants to celebrate these 40 years of art with a retrospective and a form of tour d'horizon, a festive evening for which he will once again return to the Hof De Bist, where he has already been invited on several occasions. He could therefore be a man of fairly fixed habits, of fixed points in life, which translates into a constancy in his work, without too abrupt changes or changes of rhythm. An equal man, or another man who knows how to follow the rhythm. This is not to say, of course, that things are quiet in his artist's soul. After all, an artist often has to overcome all kinds of opposition, from outside as well as within himself, and this question sometimes nags at him: why am I doing this, for whom am I doing this, all this? Fortunately, Hans Beers has persevered, and his work is of exceptional quality and full of variation. This is not so obvious in an age characterized by media attention for anything sensational, or supposedly daring, and content is subordinated to packaging, appearance, outward appearance. Hans Beers has always opted for art as something meaningful, for creative craftsmanship in its own right. The choice of materials, the composition, the studied application of color and line, he has always carefully weighed, tested and perfected. For him, artistry is a long process, a job that requires discipline, although it should be quicker for him from the concept in his head to final realization and completion. His work is sometimes static-monumental and mobile at the same time; there's something of the revolving movements to be observed, of circles, of the cosmic, of the evolution of the world and humanity. His aim is not destruction but, on the contrary, the positive, a positive attitude with which he gives his work a human content. In his work, for example, we see two characters reaching out to each other, like a rapprochement, a search for common ground. In the past, he has also denounced a number of abuses, notably the aggression of superpowers such as the United States, the supposedly most powerful country in the world, which often abuses its power to violate human rights. The destruction of the Indian people, or of Blacks who were oppressed as an inferior race. Hans Beers' magnificent works on this theme bear witness to courage, sincere conviction and noble indignation at what should definitely be happening differently in human society. René Turkry wrote: "Art must in any case remain a means of developing and elevating the highest human faculties, namely feeling and understanding. Those who want to see such aspects preserved in art, turn to Hans Beers for a good address. This committed artist bases his work on a reality that is never out of this world, and places it in a broad social context. He is struck by the ideological, moral and philosophical shifts of this turbulent era. Religious values are also addressed. He cannot ignore injustice or cruelty. He is tormented by human suffering, for it is like the ransom that man pays for the joy of living. Indeed, this joy is also present in his work, beauty, a gentle feminine element that he contrasts with the often macho behavior of the man-of-power. This is of course clearly reflected in his choice of materials; he loves working with silk, all kinds of pieces, strips and straps, like pieces of a puzzle, parts of a whole. It always has to be well prepared, a drawing made and then transformed into a coherent composition. This is a central idea in this work: this artist sees in man destructive powers, but has retained the hope of a better society; he aspires to a proper understanding and harmonious combination of the cosmos, nature and man. He knows that there are many contradictory elements and that evolution is a long process, but he also feels a religious presence in this life that is close to his heart. It's a belief that isn't always rational, and doesn't need to be. Do you notice in Hans Beers a link between logic or reason and feeling, between the tangible and the mysterious, between facts and the inexplicable? And this is precisely his interpretation of art, his geving van het artistke. In his drawings, gouaches and tapestries, Hans Beers offers a kind of synthesis of his thinking, his philosophy: the cosmic-religious, the rotating, circular movement of time and the human being in motion, alongside this war, peace, love, all in a unity that is represented both figuratively and abstractly. There's something of suffering or solitude here, but just as much of victory, of something festive, joyous, an inner glow reflected in enchanting shades of color and details of beading and decoration. Some of the hangings speak of water, and many of the gouaches exude a bright, soft and dynamic glow. But there's always compassion, personal involvement, the endless attention to detail that characterizes him as a serious and precious artist. Gouaches The broad, lofty stroke of his theme is immediately apparent in his gouaches. Here we get a good idea of the symbolism and rhythm that Hans Beers introduces into his work. Chromatically, all these gouaches are based on a strong contrast between dark and bright colors such as yellow, off-green, red, pink and violet, which he often incorporates into his restless wave compositions. His richly branched expression seems to be appreciated mainly on lines and a geometric grid. The figurative is subordinated to the spiritual. The abstract-symbolic facet seems predominant. Everything speaks of a served intensity, but Hans Beers manages to assimilate the tension. He has devoted series to Christ, the cosmos, the apocalypse and expression through the hands. They are inwardly rich, but never sentimental or pathetic. They testify to a channeled sensitivity, and sometimes to strong emotion. His series are both the fruit of questioning and reflection. Hans Beers' own cadence runs through them all, but also a rhythm adapted to each series. A series about the Statue of Liberty in New York is also deeply moving. In this rather committed opus, Hans Beers takes a succinct look at the application of human rights by Americans in their own state.
Specifications
ConditionVery goodColorsMulti ColorMaterialPaperNumber of items1OrientationPortraitArt sizeMediumHeight63 cmWidth46 cm