mathieu vroemen - drawings

Mathieu was an excellent and very talented drawer. He strived to render the wished-for form with as few lines as possible. He was very touched by the drawings of artists like Rembrandt van Rijn, Ingres, Giacometti, Kokoschka and Matisse. For him, the drawing or sketch was the basis from which a work of art comes into existence: the characteristics of colour and the composition of colour in the final artwork are already present in the sketch. Mathieu has made many drawings and sketches, for which particularly his surroundings and the people therein served as model. Notwithstanding his development to the abstract, he kept drawing true to nature, and then especially with the portrait as subject. The drawings breathe a deeply felt respect for the portrayed model and express a more profound meaning of its psyche and character. At the same time, a trace of the properties of the artist himself are undeniably mirrored in the expression on the faces and in the postures of the ones portrayed. This feature – in combination with an almost infallible feeling for composition and observation – gives his drawings a special position in his artistic inheritance.


		DRAWINGS
	Mathieu was an excellent and very talented drawer. He strived to render the wished-for form with as few lines as possible. He was very touched by the drawings of artists like Rembrandt van Rijn, Ingres, Giacometti, Kokoschka and Matisse. For him, the drawing or sketch was the basis from which a work of art comes into existence: the characteristics of colour and the composition of colour in the final artwork are already present in the sketch. Mathieu has made many drawings and sketches, for which particularly his surroundings and the people therein served as model. Notwithstanding his development to the abstract, he kept drawing true to nature, and then especially with the portrait as subject. The drawings breathe a deeply felt respect for the portrayed model and express a more profound meaning of its psyche and character. At the same time, a trace of the properties of the artist himself are undeniably mirrored in the expression on the faces and in the postures of the ones portrayed. This feature – in combination with an almost infallible feeling for composition and observation – gives his drawings a special position in his artistic inheritance.		riet: I - II - III - IV - V - VI - VII - VIII - IX - X - XI - XII - XIII - XIV - XV - XVI - XVII - XVIII - XIX - XX - XXI - XXII - XXIII - XXIV - XXV ferd veelenturf: I - II - III - IV - V - VI - VII / dries engelen / lucas / raine maaike I / maaike II / noud verhoeven / gonny jansen: I - II - III ton van der stap I / ton vanderstap II / missis lau I / missis lau II unknown woman / leo van der heijden I / leo vander heijden II joris: I - II - III - IV / frans grummer huub oosterhuis I / huub oosterhuis II kees v.d. vosse I / kees v.d. vosse II / fons smeets violin player I / violin player II / harrie kranen: I - II - III - IV - V - VI unknown old man / selfportrait mathieu / portrait riet / portrait ibi mathieu damoiseaux / maud: I - II - III - IV / rob heckers I / rob heckers II gène damoiseaux: I - II - III - IV / drawing 1944 / man on sofa portrait man I - II - III - IV / man sitting: I - II - III - IV nudes: I - II - III - IV - V / sketch of a woman / woman on chair woman on sofa / woman sitting: I - II - III - IV - V - VI - VII - VIII - IX woman standing: I - II - III
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