Egbert Lieveld (Berg en Dal, Para District, January 10, 1919-Paramaribo, March 2014)

March 8, 2014 at 3:47 pm (Headlines) (, , , )

Egbert Lieveld (Berg en Dal, Para District, January 10, 1919-Paramaribo, March 2014) , visual artist, honorary FVAS-member, started painting as a pastime in 1980. He became a very productive painter, popular with his colleagues and the audience, also because of his amiable nature.

Egbert Lieveld, 'Cultuurtuinlaan LVV [Cultuurtuinlaan LVV], mixed media on canvas, 54x60cm, 1986 / PHOTO Roy Tjin, 2007

Egbert Lieveld, ‘Cultuurtuinlaan LVV’ [Cultuurtuinlaan LVV], mixed media on canvas, 54x60cm, 1986 (Collection: Centrale Bank van Suriname) / PHOTO Roy Tjin, 2007

“For as long I as remember I have been painting. Even while I was still in my mother’s womb! It is part of me; it was a gift from heaven.” It is a typical element of Egbert Lieveld’s painting technique that he often combines paint with other materials, thus creating a hint of three-dimensionality in his work. “I am by profession a designer and builder of structures, not an artist. My method of painting is based on the way one builds a house, using roofing, wood and sand.”

Egbert Lieveld, Schoeners te Coronie [Schooners at Coronie], oil on canvas, 66x97cm, 1985 (EBS Collection) / FOTO  Cliff San A Jong/Roy Tjin/Lucien Chin A Foeng, 2000

Egbert Lieveld, ‘Schoeners te Coronie’ [Schooners at Coronie], oil on canvas, 66x97cm, 1985 (EBS Collection) / PHOTO Cliff San A Jong/Roy Tjin/Lucien Chin A Foeng, 2000

Egbert Lieveld, 'Zoetwaterkanaal te Totness'  [Fresh Water Canal in Totness], oil on canvas, 64x95cm, 1985 (Collection: Centrale Bank van Suriname) / PHOTO Roy Tjin, 2007

Egbert Lieveld, ‘Zoetwaterkanaal te Totness’ [Fresh Water Canal in Totness], oil on canvas, 64x95cm, 1985 (Collection: Centrale Bank van Suriname) / PHOTO Roy Tjin, 2007

The Coronie District is prominent in Egbert Lieveld’s work. That special bond dates from 1946 when he spent some months in the coastal district as a surveyor employed by the Ministry of Public Works. The special atmosphere of the district appealed to him right from the start and even after many decades it is still almost tangible. “I often paint from nature. I observe my surroundings, and then after a while I start painting. It is just as when you’ve taken a photograph; only when it is printed can you see the final result. But all along you had captured the image in your mind.” Sometimes it takes years before such an image actually becomes a painting; according to the painter that is because it must ripen. “Once it’s ripe I bring it out into the open. My secret is: I never start painting without saying a prayer first. And then I find the inspiration for my hands to create.”

© TEXT Marieke Visser, from: Talent. Uit de kunstcollectie van de Centrale Bank van Suriname, Paramaribo (Centrale Bank van Suriname) 2007. © English translation: Anne-Marie Reeder

Egbert Lieveld, De Hindostaan [The Hindustani], oil on canvas, 1980 (EBS Collection) / FOTO  Cliff San A Jong/Roy Tjin/Lucien Chin A Foeng, 2000

Egbert Lieveld, ‘De Hindostaan’ [The Hindustani], oil on canvas, 77x90cm, 1980 (EBS Collection) / PHOTO Cliff San A Jong/Roy Tjin/Lucien Chin A Foeng, 2000

Egbert Lieveld, 'De Surinaamsche Bank in 1934', collage on board with acrylic, 123.5x99cm, 1994 (De Surinaamsche Bank N.V. Collection) / PHOTO Roy Tjin, 2005

Egbert Lieveld, ‘De Surinaamsche Bank in 1934’, collage on board with acrylic, 123.5x99cm, 1994 (De Surinaamsche Bank N.V. Collection) / PHOTO Roy Tjin, 2005

From an interview I had with Egbert Lieveld:
“Ma’am, I went to the Louvres and I wanted just one thing: I had to see the Mona Lisa. So I went over there and there she was. It is a small painting.”

He indicated with his hands, indeed much smaller than you expect.

“So, finally, I am alone with her, and there I stand. I said: So, you’re the famous Mona Lisa ma’am. And she said, Yes, Mr. Lieveld, yes. And I ask her what is so special about her. She tells me: Look, and tell me what you see. You laugh, I say. And she nods, she says: That’s right, so you have to go to meet people with a smile. But, what more do you see? And I say. I do not know. She tells me to look to the left. I look to the left, and she still looks at me. I say: You still look at me, your eyes follow me. And she says: And then, what more do you see ? I say: You’re dressed. A woman is always beautiful as she is dressed. ”

TEXT Marieke Visser, 2007

Egbert Lieveld, 'Woningnood' [Housing shortage], acryl on board, 80x60.5cm, 1991 (De Surinaamsche Bank N.V. Collection) / PHOTO Roy Tjin, 2005

Egbert Lieveld, ‘Woningnood’ [Housing shortage], acryl on board, 80×60.5cm, 1991 (De Surinaamsche Bank N.V. Collection) / PHOTO Roy Tjin, 2005

Egbert Lieveld, 'Lantidan' [Lantidan], acryl on board, 80x60.5cm, 1991 (De Surinaamsche Bank N.V. Collection) / PHOTO Roy Tjin, 2005

Egbert Lieveld, ‘Lantidan’ [Lantidan], acryl on board, 80×60.5cm, 1991 (De Surinaamsche Bank N.V. Collection) / PHOTO Roy Tjin, 2005

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