{"id":13359,"title":"Inspiration","dimensions":"","date_begin":"1995-01-01","material":"Olieverf en tempera op doek","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the Estate George Smits, Antwerp","cached_tag_list":"INBOX George Smits","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":13,"permalink":"inspiration","description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"category":{"en":"Painting","nl":"Schilderij","fr":"Peinture"},"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/030/001/large/2015_Georges_Smit_Inbox_deel_2_photoM_HKA_clinckx21.jpg?1450702997","poster_credits":"Courtesy of the Estate George Smits, Antwerp","translations":[{"locale":"en","short_description":"","description":"\u003cp\u003eIn 1975 George Smits turns aways from pop and happenings and focuses on painting. Smits is looking for a more sober communication between artist and viewer. In contrast to trend at the time.\u003c/p\u003e\u003cp\u003eSmits continues to paint and make sound installations till his death. Style, colours and format evolve, but he remains true to the painting techniques of the Old Flemish Masters. He experiments\u0026nbsp;with age-old paint formulations and classical glazes.\u003c/p\u003e\u003cp\u003eThe psychedelic MAFprint style replete with little figures created using\u0026nbsp;\u003cem\u003e\u0026eacute;criture automatique\u003c/em\u003e\u0026nbsp;and free association, now take shape in tempera and oils.\u003c/p\u003e\u003cp\u003eIn 1975, George Smits turns his back on pop and happenings. He now focuses on painting,\u0026nbsp; looking for a more subdued communication between artist and spectator \u0026ndash; fully in contrast with the then dominant trend.\u003c/p\u003e\u003cp\u003eUntil the end of his days, and parallel to his sound projects, he continues to paint. Style, colours and format will evolve, but Smits remains faithful to the painting techniques that brought the old Flemish masters eternal fame. He experiments with their centuries proven paint recipes and classic glazing techniques.\u003c/p\u003e\u003cp\u003eThe psychedelic MAFprint style, with plenty of little figures, that emerged from automatic writing and free association, is now taking shape in tempera and oil painting.\u003c/p\u003e\u003cp\u003eNotes from George Smits\u0026#39;s log,\u0026nbsp;published in \u003cem\u003eGeorge Smits \u0026ndash; MAFprint\u003c/em\u003e,\u0026nbsp;catalogue\u0026nbsp;of the\u0026nbsp;exhibition in de Warande, Turnhout (BE), 1981\u0026nbsp;:\u003c/p\u003e\u003cp\u003e\u0026#39;If there\u0026#39;s egg in the paint, the brush\u0026#39;s marten will smell chicken. It gave\u0026nbsp;him goosebumps.\u0026#39;\u0026nbsp;[The Dutch expression literally translates as: \u0026#39;It gave him \u003cem\u003echicken skin.\u003c/em\u003e\u0026#39;]\u003c/p\u003e\u003cp\u003e\u0026#39;The still life. Seeing now: arrived at oil painting to be able to represent deep colours of projected light. So: study of oil painting technique. And those Old Masters (when I stop being a Young Artist, I\u0026#39;ll become myself an Old Master) then say that those pure strong layers of glaze on top of each other are glassy, vulgar, fragile; that they make impossible the \u0026ldquo;ton local\u0026rdquo; et cetera. So, what now? Therefore: doing those deep thingies in screen print, because \u003cem\u003ethere\u003c/em\u003e, there are no Old Masters yet. With acrylic, these latter can be circumvented too. Oil knowledge, when it\u0026#39;s complete, can then be transferred to acrylic. For later.\u0026#39;\u003c/p\u003e\u003cp\u003e\u0026#39;The painting likes literary shoes best.\u0026#39;\u003c/p\u003e\u003cp\u003e\u003c!--[if !supportAnnotations]--\u003e\u003c!--[endif]--\u003e\u003c/p\u003e"},{"locale":"nl","short_description":"","description":"\u003cp\u003eIn 1975 keert George Smits de pop en happenings de rug toe. Hij focust nu op het schilderen. Op zoek naar een meer ingetogen communicatie tussen kunstenaar en toeschouwer. Helemaal in tegenstelling met de toenmalige trend.\u0026nbsp;\u003c/p\u003e\u003cp\u003eTot het einde van zijn dagen blijft hij schilderen parallel met zijn geluidsprojecten. Stijl, kleurenpalet en formaat zullen evolueren, maar hij blijft steeds trouw aan de schildertechnieken die de Oude Vlaamse Meesters eeuwige roem verschaften.\u0026nbsp;Hij experimenteert met hun sinds eeuwen beproefde verfrecepten en klassieke glacistechnieken.\u003c/p\u003e\u003cp\u003eDe psychedelische MAFprint-stijl vol figuurtjes, ontstaan uit \u0026eacute;criture automatique en vrije associatie, krijgt nu vorm in tempera en olieverf.\u003c/p\u003e\u003cp\u003eAantekeningen uit het logboek van George Smits (gepubliceerd in de cataloog\u0026nbsp;\u003cem\u003eGeorge Smits \u0026ndash; MAFprint\u003c/em\u003e, tentoonstelling in de Warande, Turnhout, 1981.)\u003c/p\u003e\u003cp\u003e\u0026ldquo;Als er ei is in de verf, zal de marter van het penseel kip ruiken. Hij kreeg er kippenvlees van.\u0026rdquo;\u003c/p\u003e\u003cp\u003e\u0026ldquo;Het stilleven. Nu inzien: tot olieverf gekomen om diepe kleuren van geprojecteerd licht te kunnen weergeven. Dus: studie van olieverftechniek. En die Oude Meesters (wanneer ik ophoud met Jong Kunstenaar te zijn, zal ik zelf een Oude Meester worden) zeggen dan dat die zuivere, straffe glacis tegeneen glasachtig zijn, vulgair, fragiel, de \u0026lsquo;ton local\u0026rsquo; onmogelijk maken enzovoort. Wat nu gezongen? Dus: die diepe dinges in zeefdruk doen, want daar zijn nog geen Oude Meesters. Met acryl kunnen deze laatsten ook omzeild worden. Oliekennis, wanneer ze volledig is, kan dan overgeheveld worden naar acryl. Voor later.\u0026rdquo;\u003c/p\u003e\u003cp\u003e\u0026ldquo;Het schilderij heeft liefst van al literaire schoenen.\u0026rdquo;\u003c/p\u003e"},{"locale":"fr","short_description":"","description":"\u003cp\u003eEn 1975, George Smits tourne le dos au pop art et aux happenings pour se concentrer sur la peinture. En qu\u0026ecirc;te d\u0026rsquo;un mode de communication plus r\u0026eacute;serv\u0026eacute; entre artiste et spectateur et \u0026agrave; contre-courant absolu de la tendance de l\u0026rsquo;\u0026eacute;poque.\u003c/p\u003e\u003cp\u003eJusqu\u0026rsquo;\u0026agrave; la fin de sa vie, il continue \u0026agrave; peindre parall\u0026egrave;lement \u0026agrave; ses projets d\u0026rsquo;installations sonores. Si son style, sa palette et ses formats \u0026eacute;voluent sans cesse, il reste toujours fid\u0026egrave;le aux techniques picturales qui ont valu une gloire \u0026eacute;ternelle aux anciens ma\u0026icirc;tres flamands. Smits exp\u0026eacute;rimente ainsi leurs recettes picturales et leurs techniques classiques s\u0026eacute;culaires du glacis.\u003c/p\u003e\u003cp\u003eLe style psych\u0026eacute;d\u0026eacute;lique de MAFprint, \u0026eacute;maill\u0026eacute; de petits personnages n\u0026eacute;s de l\u0026rsquo;\u0026eacute;criture automatique\u0026nbsp;et de l\u0026rsquo;association libre, adopte \u0026agrave; pr\u0026eacute;sent la technique de la tempera et la peinture \u0026agrave; l\u0026rsquo;huile.\u003c/p\u003e\u003cp\u003eDes annotations du journal de George Smits (publi\u0026eacute; dans \u003cem\u003eGeorge Smits \u0026ndash; MAFprint\u003c/em\u003e, exposition \u0026agrave; De Warande, Turnhout, 1981)\u0026nbsp;:\u003c/p\u003e\u003cp\u003e\u0026laquo;\u0026nbsp;S\u0026rsquo;il y a de l\u0026rsquo;\u0026oelig;uf dans la peinture, les poils de martre du pinceau vont flairer la poule. J\u0026rsquo;en ai la chair de poule\u0026nbsp;!\u0026nbsp;\u0026raquo;\u003c/p\u003e\u003cp\u003e\u0026laquo;\u0026nbsp;La nature morte. \u0026Agrave; pr\u0026eacute;sent, comprendre\u0026nbsp;: j\u0026rsquo;ai opt\u0026eacute; pour la peinture \u0026agrave; l\u0026rsquo;huile pour pouvoir rendre les couleurs profondes de la lumi\u0026egrave;re projet\u0026eacute;e. Il m\u0026rsquo;a donc fallu \u0026eacute;tudier la technique de la peinture \u0026agrave; l\u0026rsquo;huile. Et ces anciens ma\u0026icirc;tres (quand j\u0026rsquo;arr\u0026ecirc;terai d\u0026rsquo;un \u0026ecirc;tre un jeune artiste, je serai moi-m\u0026ecirc;me un ma\u0026icirc;tre ancien) disent alors que ces glacis purs et rigoureux sont vitreux, vulgaires, fragiles et emp\u0026ecirc;chent le \u0026ldquo;ton local\u0026rdquo;. Et maintenant, que faire\u0026nbsp;? R\u0026eacute;aliser les choses profondes en s\u0026eacute;rigraphie, parce qu\u0026rsquo;il n\u0026rsquo;y a pas d\u0026rsquo;anciens ma\u0026icirc;tres dans le domaine. Ceux-ci peuvent \u0026ecirc;tre \u0026eacute;lud\u0026eacute;s avec de l\u0026rsquo;acrylique. Quand elle est compl\u0026egrave;te, la connaissance de l\u0026rsquo;huile peut \u0026ecirc;tre transmise \u0026agrave; l\u0026rsquo;acrylique. Pour plus tard.\u0026nbsp;\u0026raquo;\u003c/p\u003e\u003cp\u003e\u0026laquo;\u0026nbsp;Le tableau affiche une pr\u0026eacute;dilection pour des chaussures litt\u0026eacute;raires.\u0026nbsp;\u0026raquo;\u003c/p\u003e"},{"locale":"ru","short_description":"","description":""},{"locale":"de","short_description":"","description":""},{"locale":"es","short_description":"","description":""},{"locale":"el","short_description":"","description":""}],"actors":[{"id":2773,"name":"George Smits","category":{"en":"Creator","nl":"Vervaardiger","fr":"Créateur"}}]}