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Leo Setz

Daniel Wilhelm Bekking (Dan. Bekking), born on 8th January 1906 in Haarlem, passed away on 4th September 1973 in Amsterdam, attended the Academie voor Beeldende Kunsten en Technische Wetenschappen in Rotterdam after an HBS programme in The Hague.
After completing his studies, he settled in Paris, where he belonged to the group of younger expressionists, which had formed around the painters Dunoyer de Ségonzac, Othon Friesz, Thévenet, Osterlind, Derain, Gromaire and the Dutchman Conrad Kickert, with which painters he was close friends.
He had many portrait assignments in Paris and exhibited at the "Salon des Indépendants" (chairman: Paul Signac) and at the very select "Salon des Tuileries" (chairman Othon Friesz).
In 1939 Daan Bekking "stranded" in the Netherlands, where he happened to be staying after delivering some canvases to Dutch buyers, and where some portrait commissions had left him. The last train that ran after the outbreak of hostilities between Germany and the Allies took him to the French border. From there he had to return to the Netherlands without any accomplishment, leaving all his work and all his possessions behind in his Paris studio, of which nothing was found after the war.
He succeeded in becoming famous in the Netherlands in a short time: in addition to his own work, he trained many painters in his own studio and from 1945 until 1964, he was first secretary and then president of 'De Onafhankelijken'.
His activities were also cultural and at home and abroad he gave lectures on art reflection. He mainly exhibited abroad (France, Switzerland, Germany, Sweden) and only exceptionally in the Netherlands.
He was a true 'painter': that is, he preferred to work with oil paint. He also made watercolours and drawings. His work shows the development of 'Fauve' to 'lyrical expressionist'. Fauvism, Expressionism, as well as Impressionism, Naturalism, Symbolism, Cubism, Surrealism, Futurism are all facets of the multifaceted human mind and not linked to a particular period. They coexist with each other and every artist: painter, sculptor, writer, composer, naturally chooses the direction that most closely matches his own character.
The name 'Fauves' (Fr. = literally 'wild animals') was used as a mockery for the first time by a French art critic - just as the style names 'Gothic' and 'Impressionism' originated from mock names - for a number of painters (including Matisse , Derain, Friesz, Vlaminck, Dufy) who used colour and line to achieve the utmost in expression, often with disdain for realistic detail. It was, as it were, a great offensive of colour as a means of expression. The forerunners of this direction were Vincent van Gogh, Gauguin and Cezanne, amongst others.
The 'fauvism' with its bright colours, which originated in France, can be called in the same breath with the 'expressionism', which originated in Germany. The expressionists also use colours that are not attuned to nature, bright colours that originated from the emotional charge. Expressionism wants to be an expression of the inner reality.
At the same time, the Fauvists and the Expressionists are also idealists, who turn and oppose the materialistic, mindless and cruel reality of this world, which stands in stark contrast to the dreamed ideal image. They do not seek reality, but the 'eternal truth', which is hidden behind the things the eye perceives. They know that it is impossible to represent real reality because no two people see and experience things in the same way. At most one could portray the outer reality, the outer appearance. For them, however, the image of the world lives within themselves. That is why their art is the representation of their own soul expressions. This was the direction that Daan Bekking, according to his character structure, had to go and he remained true to this direction until his death, because he wanted to remain true to himself. He loved all the beautiful things in this life, all art: painting, sculpture, architecture, music, literature. He loved life itself in all its aspects. He loved man, the few very great and the many poor people: the beggars, the Parisian clochards, the vagrants, the homeless, the unfortunate, the poor. He loved the skilled craftsman, the farmer in the eternal cycle of nature, the shepherds in the arid, inhospitable plains of France and Spain. He loved nature itself, as his many landscapes and tree studies attest to; of the animals, which he never tired of studying and drawing. He loved the dream and, in spirit as well as in reality, fled the evil and the banal in this world. In the privacy of his studio or alone in God's free nature, he realized that love for everything that lived in his work. For this he used his own language, the language of the 'lyrical expressionist', the painter, who is at the same time a poet and who tries to connect the dream of the beautiful with the recognizable reality.
C.A.H. Bekking-van Opijnen.

Olio su tela - Firmato a mano - omstreeks 1950

Daniel Wilhelm Bekking (1906-1973) - "Côte d'Azur / Zonnig landschap Middellandse Zee"

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Daniel Wilhelm Bekking (1906-1973) - "Côte d'Azur / Zonnig landschap Middellandse Zee"

1982 oggetti

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Daniel Wilhelm Bekking (1906-1973) - "Côte d'Azur / Zonnig landschap Middellandse Zee"

1982 oggetti

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