Janneke A.E.M. Viegers - Works of Art: Interiors

Garden, Nijmegen, 1990

photo, Jaap de Graaf

THEMES:

INTERIORS 1980-1990; Interiors, 35 works in 'Eyelevel view, at eye level, see clip 'Negativeland under Films. The Camera Obscura of Anthonie van Leeuwenhoek and the Interiors of Vermeer inspired translations in paintings of 1.1 and seen from above.

BERG & DAL 1980-1990; Forests views. Scapes of Youth.

1986 KUNSTBEELD (see works INTERIORS www.viegers.eu)

JANNEKE VIEGERS. A storm that calls for 'silence'

That "art speaks for itself" is not as self-evident as we are told, strangely enough, mainly by speakers about art. If art were not talked about, the greater part of visual art production would immediately cease to be silent about itself. Without art criticism and journalism and all that is given to art in the way of verbal garb (among others by eloquent artists), many works of art would wither away to sound installations without a tuner; and then we will leave it open whether Baudelaire was right when he wrote that art criticism is more often guilty because it amplifies the voice of the artist than because it silences it.

And yet: when someone really does well. for the fatherland, with no other credentials to justify his/her work than the talent that was not earned on anything, perfect genes on the father's and mother's side - painting is and remains a matter that is hardly open to discussion. Sometimes you meet someone who is so good at it that you know: there is no dry bread to be made here for an art writer. Janneke Viegers belongs to that breed, who has an inordinate amount of talent, so that it makes you feel anxious when you think about human equality and about the similarity of talents (from the new testament, therefore), which does not give the most talented the best chances. Anyone who looks at the paintings of Janneke Viegers feels like an interpreter too much, so that he counts himself lucky that there are other paintings that speak so imperfectly for or so cunningly against themselves that one becomes talkative as a viewer and takes sides with them. How, for example, does one tell what Janneke Viegers 'is busy with' (because that is where every interview and contemporary discourse begins!)?

Of course, it is also difficult for the speaking water that in this oeuvre no themes can be identified with which the post-modern courage of despair prefers to concern itself. Unless it is those romantic forests (Berg-en-Dal forests?) and tilted Vermeer interiors, which may be more about romanticism, impressionism and the possibility of 'belle peinture' than about forests and interiors (although, if it is done with such authoritarian Ã©lan, I could care less whether the problem is in the painting or in the painter). In fact, one can only say about a 'Viegers' that everything she does is in a festive way in accordance with the spirit and body of painting. She may consider herself lucky that she is presenting herself at the beginning of this fin de siÃ¨cle of the 20th century, because finally one may now have the entire past of painting before one again. Whoever has the tradition, now has the future. Janneke Viegers has that tradition. Everything she paints reminds one of direct, impressionistic perception of distant memories, so that one may perhaps speak of an impressionism of the second degree and sometimes even of a meta-baroque, which has the baroque itself as its subject. The painting does not work so much as an eye but as a memo-technical instrument, as a memory machine, which lets the snow of yesterday-the snow of Rik Wouters-fall on the far-raining landscapes of today. At least the worn-out term 'painting as a process' may still get a meaning, which does not exclude painting 'for profit or loss'. Janneke Viegers paints like a chess player plays chess and a singer sings. Nobody asks those people what they are doing. When a Viegers paints a 'Viegers' you have to look and keep your mouth shut. The thinking comes home. At most you think: hats off, gentlemen, and let the ladies stand to attention too. Because this storm calls out imperiously 'Silence'.

Maarten Beks

1980-1990 AFTER VERMEER, 200x200cm, oil on canvas

The Letter

Girl at the Harpsichord

The Generous Offer

The Drinking Couple

The Officier

The Allegorie 2

The Singing Lesson

The Love Letter

The Pearl Evaluator

The Pearl Necklace

The Milkmaid

The Geographer 2

The Astrologer

Letter writer with the Maid

The Musician

Viola Da Gamba and Lady at the Harpsichord

the Allegorie

Gentelman and Lady at the Harpsichord

The Okest

The Concert

Dark Chamber

The Green Room

The Red Room

1987 AFTER VERMEER AND TERBORCH, 100x100cm, 50x50cm, oil on canvas

The Glass of Wine

The Glass

The Allegorie 3

The Letter 2

Sleeping Girl

The Visit

The Arranger

The Visit

The Girlfriends

The Chello Player

The Luit Player

The Apple Pealer

The Lace Sewer 30x30

The Pearl Earrings 30x30

Young Woman 30x30

1981 INTERIORS, 200x200cm, oil on canvas

Chairs

Clothes

Nylons

The Player

The Open Hearth

1992 THE FOUR ROOMS (QUADRANTS), 200x200cm, oil on canvas

The Purple Room

The Old Room

The Blue Room

The Brown Room

2002 TOKYO, NARA, COBE, KYOTO, 60x60cm, oil on canvas

Tokio, Asakasa

Nara, Japan

Cobe, Japan

Kioto, Japan

1984 GRAND PIANO, 200x300cm, oil on canvas

Grand Piano 200x300cm

1984 NIJMEGEN, 200x180cm, oil on canvas

The Envious Mother

The Departure

Fathers House 2

Fathers House 1

2021 DE VIER SEIZOENEN, Arti’s Villa Belmonte, Drenthe 60x80cm, oil on canvas

Winter

Lente

Zomer

Herfst

1985 FOREST VIEWS, 80x100cm, oil on canvas

The Forest of the Ladies Bouwens 1

The Forest of the Ladies Bouwens 2

The Forest of the Ladies Bouwens 3

The Forest of the Ladies Bouwens 4

Tree 1, 155x65cm

Tree 2, 155x65cm

Tree 3, 155x65cm

Tree 4, 155x65cm

Berg en Dal 1, diameter 60cm

Berg en Dal 2, 60x60cm

Ooy 2, 60x60cm

Berg en Dal 3, 80x60cm

Berg en Dal 4, 80x60cm

Ooy1, 60x60cm

Berg en Dal 5, 80x60cm

Berg en Dal 6, 80x60cm

Berg en Dal 7 , 80x60cm

Birds Concert, 160x110cm

1996, THE WORLD REVISED, Het Dijkstoelhuis, Wageningen


Wageningen, Hoge Veluwe, (the Netherlands)	Roosendaal	Roosendaal	Wageningen, Folk Costumes	Roosendaal Castle, The Follies 1	Roosendaal Castle, The Follies 2