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In 1946 it was the first time I saw a Van Gogh, a painting from his years in France. It was excactly what I had always felt here [in the fields of Fr… - Jopie Huisman
" "In 1946 it was the first time I saw a Van Gogh, a painting from his years in France. It was excactly what I had always felt here [in the fields of Friesland]: infinity, the unimaginable. I was bewildered and thought: who has been painting here for God's sake? Pink stripes in a green sky, you can't imagine! Ultramarine and carmine in the soil with a big yellow sun behind it.. (translation, Fons Heijnsbroek, 2018)
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About Jopie Huisman
(Workum, 18 October 1922 - 29 September 2000) was a self-taught Dutch painter and draftsman. He is best known for his portraits and for the still-life's with as their subject selected rags and old stuff, Huisman was buying up stuff as professional rag man in Workum and from 1963 in Herbayum; both are villages in Friesland.
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version in original Dutch / citaat van Jopie Huisman, in het Nederlands: Hoe kleiner de wereld, hoe beter ik me voel. Het riet om mij heen, dan is het kwade de wereld uit. Volgend jaar zal ik dat riet schilderen, ik heb het mij heilig voorgenomen. Een stukje riet met een stukje water eronder. En dan komt het er precies zo op dat je er stil van wordt. Ik schilder het buiten, want fantasie heb ik niet en dat zou ik trouwens een grote brutaliteit van mijzelf vinden. Ik heb er niets aan toe te voegen, ik heb niets in mij en ik geloof dat ik dat mijzelf goed bewust moet zijn, want als gevolg van mijn tijdelijkheid is dat mijn beperktheid.
Just six kilometers – never my world was bigger than that, actually. That starting time [of his painting & drawing, c. 1946], to which I return now; watercolor; I prefer a bit foggy, a small world - and not the cows themselves, but only their traces in the mist. The tenderness.. .I am currently deeply immersed in little trees and in the reeds. You have to experience it as mysticism, as a miracle. And afterwards: passing it on.. (translation, Fons Heijnsbroek, 2018)
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I worked for months on this painting [title 'The Stone-wheelbarrow of C. Adema', 1977], for instance that well-bucket on the wheelbarrow I painted a twenty times or more, and it is constructed exactly as nature has shaped it. I want to make it harder and harder for myself. 'That's how it is' doesn’t exist for me. Deepening, that's what it is all about. My wish is to make in due time a small painting in which I can hardly discover any longer that it is painted, that it is just there, like that. Just something very simple. (translation, Fons Heijnsbroek, 2018)
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