IN THE FOOTSTEPS OF STYLE AND BAUHAUS.
One of the most radical developments in the field of art, in the 1920s, was the birth of modernism as a new art movement.
It had become a typically Dutch affair due to the efforts of Piet Mondrian and Theo van Doesburg who founded the magazine “De Stijl”, in which they made known to the world their ideas about art in general and painting in particular. And Theo van Doesburg in particular had a great influence on the revolution in the vision of art in Bauhaus.
It had to become a new accessible visual language, independent of reality, abstract, geometric and harmonious.
For painting this meant going back to basics with clean lines and surfaces in primary colours, supplemented with black, white and grey.
No green to avoid any association with reality.
So much for the past in which this great upheaval took shape.
With the ideas of Mondriaan and van Doesburg in her baggage, Elly Richaerts started a painterly quest for the most basic
constructivist possibilities that can be derived from the clean lines and angular surfaces in Mondrian's work.
The application of the “Style Message” in her paintings has become an inexhaustible source of inspiration for her despite
the limitations of the basic geometry and primary use of color.
As far as the color palette is concerned, she has become a bit unfaithful to the theory of “de Stijl” by not only using the primary colours but also
the hues derived from this. ”This gives me more possibilities to compose my constructivist visual language in form and color”, says Elly.
Her quest is a personal story with a universal eloquence that, in the footsteps of “De Stijl”, connects the past and the present.
The artist has no influence on how the viewer views these works. The viewer's gaze is determined individually but also culturally.Paintings without meaning, such as by this artist, demand a greater diversity of perspective from the viewer.
In her former life as a painter, she created completely different paintings whose content was clear: about the cultures of distant peoples she met
on her wanderings across the globe. Once back, she incorporated her acquired impressies into paintings about, for example, totem poles, Japanese kimonos and ancestor worship of African tribes. But especially the geometric art of Islam fascinated her. Could that already be the link to her contemporary artwork?
Besides painting, her second passion is portrait photography. Not from the studio, but from the road, from people from cultures other than the Western ones, in their own environment. When she returned home she always had a “treasure chest” full of portraits of special people with whom she felt connected.
Captured for the future.