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As far as transience is concerned.. .You see the whole story in those shoes, that's why I paint them so accurate. The physical attitude; crooked legs… - Jopie Huisman
" "As far as transience is concerned.. .You see the whole story in those shoes, that's why I paint them so accurate. The physical attitude; crooked legs, a lump. Those shoes were talking to me, and then I thought: I can see that you were so and so big, but did you also had a wife? Children? What were you doing? And what really mattered to me is my own place between them. Between those stories, that mystery. That pitch-black background [in Jopie's paintings, till c.1979-80] - I had found it. A cry for attention. Those pants, that shirt, that background, that was: here I am. But then it become mannerism. So I carried on realistically but avoiding the black background at all costs. It is as Rutger Kopland says: Whoever found it did not look well. Now I want to paint people like this, like they are made of colored mud. Color spiritualizes. (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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Additional quotes by 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)
version in original Dutch / citaat van Jopie Huisman, in het Nederlands: Wat de vergankelijkheid betreft.. .Je ziet het hele verhaal in die schoenen, daarom schilder ik ze zo scherp. De lichamelijke houding; kromme poten, een knobbel. Die schoenen praatten tegen me, en dan dacht ik: ik kan zien dat je zo en zo groot was, maar had je ook een vrouw? Kinderen? Wat deed je? En waar het me in wezen dan om ging is mijn plekkie daartussen. Tussen die verhalen, dat mysterie. Die pikzwarte achtergrond [in zijn schilderijen, tot c. 1979-80]; ik had het gevonden. Een schreeuw om aandacht. Die broek, dat hemd, die achtergrond, dat was: hier ben ik. Maar dan word je een maniërist. Dus ik ben realistisch doorgegaan, maar koste wat het kost die zwarte achtergrond vermijdend. Het is zoals zegt: Wie het gevonden heeft, heeft niet goed gezocht. Nu wil ik de mensen zo schilderen, als zijn ze van gekleurde modder. De kleur die vergeestelijkt.
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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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