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Nicolas Trigault Painting

walter dermul

Belgium

Painting, Oil on Canvas

Size: 31.5 W x 39.4 H x 0.8 D in

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About The Artwork

This painting is based on a drawing by P.P. Rubens. For both him and me it is - centuries later - a costume study, or especially a study in draping. I originally made this work in 2018. I never exhibited it because I thought it was in the “not really bad, but not good enough” category. Over the last few days I put it back on the easel and finished it with the experience I have today. It remains a bit atypical, but as a study project I learned a lot from it... Rubens' drawing is in The Met, New York. This is what they say about it: "Portrait of Nicolas Trigault in Chinese Costume Peter Paul Rubens 1617 This magnificent costume study is also an affecting portrait of Nicolas Trigault, a Flemish Jesuit missionary to China. Rubens, who had close ties to the Jesuit college of Antwerp, made the drawing when Trigault visited the city to raise funds and recruit new missionaries. The costume combines a Korean cap and the robe of a Chinese scholar, conveying the Jesuits' desire to assimilate into Chinese culture while at the same time recognizing and keeping a certain distance from it. Rubens beautifully captured the cut, texture, and weight of the robe but also elaborated on its colors in the Latin inscription." https://www.metmuseum.org/art/collection/search/337844

Details & Dimensions

Painting:Oil on Canvas

Original:One-of-a-kind Artwork

Size:31.5 W x 39.4 H x 0.8 D in

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Apart from some months at the Antwerp academy, I have no formal training in art or painting. In my earlier career I worked as a strategist in marketing communications and advertising. Even up to today I work as an independent brand strategy consultant. But more and more this is being taken over by this other passion of mine : oil painting. Since a couple of years now I got into a relatively stable routine of exploring the ins and outs of painting on canvas. I love the lively plasticity of oil paint. With each brushstroke I push and pull the colors – almost like sculpting – into shapes with expression. In contrast to oil, I hate acrylic, which I find a ‘dead material’. I focus on representational subjects. Sources of inspiration come from different sides. I guess most of my work tries to portray real people and their emotions. It can be portraits of people I know or scenes from news items – such as the recent refugee crisis in Syria. I start from photos that I have taken myself of the subject, or pictures that I find on news sites. The biggest challenge is ‘seeing’ and translating the essence and the details into a new speaking and striking image. My recent body of work deals with interpersonal relations. I can be deeply moved by how adults (parents ?) relate to (their ?) kids and vice versa. Growing up is a complex process. Happiness and sorrow, anger and angst, love and rebellion - there are enough colors in life to be inspired by in my paintings.

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