(1911 – 1975 )
Impressionist Modern
Alexis Preller was born in 1911 in Pretoria and went to school at Pretoria Boys High School, where he was always drawn to the theatre and was involved with many productions. Later he worked as a clerk for some time before persuading his family to allow him to pursue his studies in the arts, intending to write plays for the theatre. In 1934 Preller left South Africa for London, where he met JH Pierneef, the successful South African painter who was at that time commissioned to paint a series of murals for South Africa House in London.
It was on his advice that Preller enrolled at the Westminster School where he began to study painting, which proved to be an irrevocable turning point in his life. It was here that he was introduced to and greatly inspired by the Post-Impressionist works of Gauguin and Van Gogh, which influenced his earlier works of the 1930s and 40s in terms of bright and pure colour, subjective views of the subject matter and sincerity in execution. On his return to South Africa in 1935 where he began to exhibit his works and made further studies of his home, Swaziland and the Congo, drawing further inspiration from tribal art and practices, which forever left an imprint of Africa on his work.
Although at this stage he was nicknamed the ‘South African Gauguin’, Preller belonged to none of the established art movements and continuously evolved in his career as an artist. The Second World War greatly influenced Preller’s work. The experiences he underwent between 1939 and 1943 resulted in paintings of macabre subject matter including disfigured and wounded bodies, but juxtaposed with these were more celestial elements of butterflies – a metamorphosis from wounds, and spiritual entities that gives the impression of a higher power or reason beyond human control. This style in his compositions was heavily influenced by the European Surrealists of the 1920s and 30s.
In the mid-1940s Preller returned to Europe, where he began to focus on the painting of still lifes, which he imbued with symbolic meaning in each object, from eggs to intricately carved figures. He experimented further with ritual and mystical themes, maintaining an interest in the Ndebele tribe, which began in the 1930s and was never fully satisfied. In this experimentation at this time, due mainly to his use of blue-green tones often contrasted with a fervent red, it is referred to as his ‘Blue Period’.
In 1953 Preller travelled to Italy and to Egypt where he was exposed to art of the Quattrocento (15thCentury Renaissance) and Egyptian mythology. The combination of these frescoes and paintings with the symbolism and mystical ancestry of ancient Egypt allowed Preller to further develop his own ideals. By 1965 Preller had started a period that focused on non-figurative expression with a tendency to create works centred on the celestial in an abstract technique, decorated with gold leaf to emphasise the cosmological theme.
The abstract space that Preller endeavoured to explore was soon abandoned and he returned to his earlier approaches, which encompassed the main qualities that he pursued for the majority of his artistic career, those that never succumbed to any one exact style or fell into any specific art movement. Preller’s unique style and individuality allows him to be considered one of South Africa’s most intriguing 20th Century artists.
1912
Commences formal art studies in Berlin
1913
Weimar Academy under Carl Fritjof Smith
1914
Studies under Professor Gari Melchers, Martin Brandenburg at the Levin-Funcke Studio, Berlin
Later returned to Wiemar for a brief spell at the Bauhaus
1975
Retrospective Exhibition held, Johannesburg
1973
Participated in the São Paulo Biennale, Brazil.
1972
Prestige Retrospective Exhibition, Pretoria Art Museum.
1966
Participated in Republic Festival Exhibition, Pretoria.
1956
Participated in the Venice Biennale.
1954
Participated in the Venice Biennale.
1952
Participated in the Van Riebeeck Tercentenary Exhibition, Cape Town.
1948
Participated in the South African Art Exhibition, Tate Gallery, London.
1938
Participated in the New Group Exhibition, the first being held in Cape Town.
1936
Participated in the Empire Art Exhibition, Johannesburg.
1935
First Solo exhibition, Pretoria.
Public Collections
Public Commissions
1953-55
Commissioned to paint a mural for the Receiver of Revenue Building, Johannesburg.
1959-62
Commissioned to paint mural for the Transvaal Provincial Administration Building, Pretoria.
1953
Received the Molteno Award with Jean Welz.
1955
Received the Medal of Honour from the South African Akademie vir Wetenskap en Kuns.
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(1912 – 2001)
Impressionist Modern
“I aim to paint my people as I see them. I also like to depict beautiful and dignified mountains, rivers and landscapes of South Africa.” George Pemba.
One of South Africa’s pioneer black painters, George Milwa Mnyaluza Pemba, was born in Hill’s Kraal in Korsten, Port Elizabeth on the 2 April 1912, the second youngest of six children to parents Titus and Rebecca. His father was a foreman at a shoe factory and an elder of their Presbyterian church, whilst his mother’s side of the family were craftsmen, dressmakers and tailors. As a child Pemba’s father encouraged him to draw and to paint, which he did in their family home, creating portraits from his father’s photographs. He continued to concentrate on portraits for his career and looked closely at depicting the rural and urban genre, especially that of the Eastern Cape where he spent most of his life.
Pemba was trained as a teacher, but worked for the Lovedale Printing Press and as a clerk in Port Elizabeth. To make a better income he then worked as a grocer from the 1950s to the late 1970s, all the while continuing with his artwork. As with the majority of rural schools, art and drawing was never taught as a subject and was quickly dismissed by teachers and the board of education during this period. Pemba later briefly attended the University at Fort Hare and the University of Rhodes, where he developed his skills in watercolour, although he remained mainly self-taught in the other mediums he used. Pemba’s exposure to oil paintings was from looking at mainly European modernist works from his teachers’ books, which he began to collect for himself. The artists who he admired most were French Impressionists, including Renoir, Monet, Toulouse Lautrec, Degas and Gauguin. He found himself 50 years after these artists applying, sometimes erratically, the techniques and approaches that they had used, but in a different cultural context entirely.
Pemba’s depictions of life scenes expose his great interest in local life and local people and a great sense of narrative is present within these works. Yet, to look at this genre as a simple ‘record’ of township life does not allow for the complicated constructions of a historical context to be formed. Pemba’s varied borrowing and knowledge of subject matter, including his portraits, forms a personal and ambiguous presentation of experiments that he undertook, which results in a style that is difficult to categorise.
George Pemba’s work illustrates a universal quality and timelessness that has secured his prominence within South African historical art. The deliberation of composition and use of colour in his works create a richness and intensity that is a reflection of the artist himself. Through the recognition he has received in the last decade, Pemba is considered one of South Africa’s most prominent artists and places him in the foreground of South African art.
1912
Born Korsten, Port Elizabeth, Cape Province (now Eastern Cape), South Africa
1924
Won a Grey Scholarship to Peterson School, took strong interest in the art books in theschool library
1928
Entered and won and art completion at a local agricultural show
Late 1930s
His works were accepted for an exhibition of “Negro and Bantu Art’ in Port Elizabeth, following this, Pemba exhibited regularly until shortly before his death
1948
Pemba turned professional in the late 1940s with his first solo exhibition in East London
1979
Awarded an honorary Masters’ Degree from the University of Fort Hare for his contribution to South African art.
2001
Died in Port Elizabet
1931 – 1935
Enrolled at the Lovedale Teacher’s Training College
1931
Watercolour classes under Ethel Smyth for two weeks at the University of Fort Hare
1937
A short course at Rhodes University Fine Arts Department under Professor Austin Wintermoore
1947
Gained a scholarship from the Fort Hare African Trust
1952
Two-week period of study under Maurice van Essche in Cape Town
1928
Group Exhibition, Feathermarket Hall, Port Elizabeth
1945
Annual Exhibition, Eastern Province Society of Arts and Crafts, Port Elizabeth
1965
Participated in the Eastern Province Arts Association
1975
First Solo exhibition, Little Gallery, Port Elizabeth
1979
Participated in the Contemporary African Art Exhibition which toured South Africa
1986
Participated in ‘Historical Perspectives of Black Art in South Africa’, Alliance Française, Pretoria
1988
The Neglected Tradition,Johannesburg Art Gallery
1989
Exhibition, Monument Gallery, Grahamstown
1991
Solo Exhibition, Everard Read Gallery, Johannesburg
1992
Solo Exhibition, Everard Read Gallery, Johannesburg
1993
Watercolour Exhibition, Highbury Gallery, Port Elizabeth
1996
Retrospective Exhibition, Iziko South African National Gallery, Cape Town; Johannesburg Art Gallery; Nelson Mandela Metropolitan Art Museum, Port Elizabeth
Public Collections – International
Galleries & Museums
Universities
Private Collections
1924
Grey Scholarship to Paterson Secondary School, Port Elizabeth
1937
First prize at May Esther Bedford Art Competition, Fort Hare
1979
Awarded an honorary Masters’ Degree from the University of Fort Hare for his contribution to South African art.
1998
Honorary Doctorate, University of Port Elizabeth
2004
The South African Government bestowed upon the late George Pemba the Order of Ikhamanga in Gold for his pioneering and exceptional contribution to the development of the art of painting and literature
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(1913 – 1993 )
Impressionist Modern
“I am glad that people owning my works are communicating in spirit. That makes me feel happy and puts up lights into the dubious sides of my life, to know there are people spiritually communicating in many places upon earth.” Gerard Sekoto.
On 9 December in Botshabelo near Middleburg in what is now Mpumalanga, Gerard Sekoto was born on a Lutheran mission station where his father was a missionary and was training to be a teacher. Many members of Sekoto’s family from both his mother’s and father’s side lived on the mission and were all very musical and were mainly all teachers by trade. Sekoto himself trained initially as a teacher but established himself as a painter in the 1940s and is now considered a pioneer of modernism in Africa.
As a first generation black South African artist, Sekoto began as a child by making small animals out of clay in his rural home. He also began to use his older brother’s school slate to draw on, which progressed to paper and pencil to accommodate his more complex sketches where his natural artistic talent emerged. Sekoto quickly developed an interest in depicting people and local life that he saw around him, his drawings beginning as pure observations.
The period Sekoto painted in was a time of black segregation from white people. Sekoto illustrated township life and black culture in his artworks, which initiated the prominent township art genre recognizable in South African art. He later lived in Sophiatown, areas of which were later bulldozed by the Apartheid government. He created vibrant and compelling works that implies the energetic activity of life in as well as the conflict of the townships. In 1942 Sekoto moved to District Six in Cape Town and joined the ‘New Group’ in Cape Town, exhibiting around South Africa. Sekoto held his first solo exhibition in 1939 and 1940, from which the Johannesburg Art Gallery bought one of his works. This was the first picture by a black artist to enter a museum collection in South Africa.
In 1947 Sekoto, in self-imposed exile, left South Africa for Paris. He was never to return to his home. France inspired Sekoto in new ways allowed him to explored fresh subjects. The first years in Paris were difficult, Sekoto worked as a pianist at l’Echelle de Jacob, a trendy nightclub playing jazz to finance his living and art school expenses. Sekoto still painted primarily South African subjects in a European style, such as Impressionism, Cubism, and Orphism. Some think that he continued to paint scenes of South African life because he wanted to keep his own identity and to fortify his roots.
Sekoto held his first solo show in Paris in 1949 at Galérie Else-Claussen. It was not particularly successful, but after an article on him appeared in Time Magazine in October 1949, Sekoto’s situation improved. His paintings became political in nature during the 1970s as a reaction to Apartheid in his home country. In 1989 the Johannesburg Art Gallery honoured him with a retrospective exhibition and the University of Witwatersrand awarded Sekoto with an honorary doctorate.
Sekoto was a cultural observer and analyst and his contribution to historical art has been considerable. In 1990 the French Government awarded him one of the highest national cultural honours in France, the award of Chevalier of the Order of Arts and Letters. In 2003, after he had died, Sekoto was bestowed the Order of Ikhamanga in gold by President Mbeki for distinction in the arts and his role in the liberation struggle, demonstrating his importance as a figure and as an artist both in South African and globally.
1913
Born 9 December at Botshabelo near Middelburg, Transvaal
1930
Attended the Diocesan College near Pietersburg
1934
Taught at the Khaiso Secondary School near Pietersburg
Won 2ndPrize in an art competition
1938
Went to Sophiatown, Johannesburg
1942
Moved to District Six, Cape Town
Joined the new Group
1945
Moved to Eastwood, Pretoria
1947
Self-imposed Exile to Paris
1947-48
Attended drawing classes at de la Grande Chaumière. Played the piano in bars at night
1949
Articles on Sekoto appeared inTimemagazine (8 August 1949, October 1949)
Spent two months in St. Anne’s Asylum
1957
Contributed article for Présence Africaine June/September 1957 (Nos 14-15 pp 281-9)
1958
His poster chosen for Second Congress of Negro Writers and Artists in Rome
1968
Dimplome Officiel at XIX Prix International de Peinture de Deauville
1983
Car accident: remained at I’Hôpital Duypuytren until the end of 1986
1987
Moved to La Maison Internationale des Artistes, Nogent-sur-Marne, France
1989
Honorary Doctorate awarded by the University of the Witwatersrand, Johannesburg
1993
Died at Nogent-sur-Marne, France
1939
First Exhibition at the South African Academy of Art, Selborne Hall, Johannesburg
Gainsborough Gallery, Johannesburg
First Solo Exhibition, Marlborough Gallery, Johannesburg
1940
South African Academy of Art, Selborne Hall, Johannesburg
Gainsborough Gallery, Johannesburg
1941
South African Academy of Art, Selborne Hall, Johannesburg
1942
South African Academy of Art, Duncan Hall, Johannesburg
1943
Gainsborough Gallery, Johannesburg
Jerome Gallery, Cape Town
Salisbury
1944
Argus Gallery, Cape Town
Gainsborough Gallery, Johannesburg
1945
Joint exhibition with sculptor Louis Maurice, Jerome Gallery, Cape Town
1946
Gainsborough Gallery, Johannesburg
1947
Gainsborough Gallery, Johannesburg
Christie’s, Pretoria
Vincent Gallery, Pretoria
1948
Exhibition at the French Colonial House, Paris
Gainsborough Gallery, Johannesburg
1948-50
Exhibited at the South African Art Exhibition, Tate Gallery, London, Netherlands, Belgium, France, Canada, United States of America, South African National Gallery and in Paris
1949
Galérie Else-Clausen, Paris
1950
Vincent Gallery, Pretoria
1951
Ralambshof Gallery, Stockholm
1952
Participated in the Van Riebeeck Tercentenary Exhibition, Cape Town
1953
Galerie Saint Placide, Paris
Bulawayo, Rhodesia (Zimbabwe)
1954
I.D. Booksellers Gallery, Cape Town
1955
Petit Palais, Paris
Lawrence Adler Gallery, Johannesburg
Seventh Art Festival, University of the Witwatersrand, Johannesburg
Galerie Reflets de Paris, Vichy
1956
Galerie Art Premier, Paris
1958
Lawrence Adler Gallery, Johannesburg
1959
Lawrence Adler Gallery, Johannesburg
1960
Salon d’Automne, Paris
Lawrence Adler Gallery, Johannesburg
1961
Galleria Santo Stefano, Venice, Italy
Adler Fielding Gallery, Johannesburg
1962
Salon d’Automne, Paris
Group exhibition with Louis Maqhubela and Lucas Sithole, Adler Fielding Gallery, Johannesburg
1963
Durban Art Gallery
Adler Fielding Gallery, Johannesburg
1964
Nemours, France
Adler Fielding Gallery, Johannesburg
1965
African Painters and Sculptors from Johannesburg, Piccadilly Gallery, London
Adler Fielding Gallery, Johannesburg
1966
First International Festival of Negro Arts
Republic Festival Exhibition, Pretoria
Adler Fielding Gallery, Johannesburg
1967
Theatre Daniel Sorano, Dakar (Exhibition with Wilson Tiberio)
1968
South African Association of the Arts, Pretoria
Senegalese Embassy, Paris
Galérie Marthe Nochy, Paris
1969
Christiane Colin Galerie, Paris
1970
Galleri BB, Denmark
Gallery Randers, Stockholm
1973
Gallerie du Marais, Bourges, Paris (Exhibition with Wilson Tiberio)
Pretoria Art Museum
1975
Atlantic Gallery, Cape Town
1978
Galerie Art Premier, Paris
1980
Maison de l’Afrique, Paris
Johannesburg Art Gallery
Rand Afrikaans University, Johannesburg
1984
South African National Gallery
1986
Historical Perspective of Black Art in South Africa, Alliance Française, Pretoria
Academy Gallery, Paris
Voices from Exile (Exhibition touring the USA)
1986 – 1987
Johannesburg Art Gallery
1987
Johannesburg Art Gallery
1988
Cassirer Fine Art Gallery, Johannesburg
South African National Gallery, Cape Town
Johannesburg Art Gallery
1989
Retrospective Exhibition, Johannesburg Art Gallery
University of the Witwatersrand
Standard Bank Arts Festival, Grahamstown
Gertrude Posel Exhibition, Johannesburg
Cassirer Fine Art Gallery, Johannesburg
1999
Standard Bank Gallery, Johannesburg
2013
“Song for Sekoto”: 26 April-2 June, Wits Art Museum, Johannesburg in conjunction with the Gerard Sekoto Foundation
“A Portrait of South Africa / Portrait de l’Afrique du Sud”: Paris, 30 October 2013 – 27 November (An exhibition of artworks by George Hallett, Peter Clarke and Gerard Sekoto)
Public Collections – International
Corporate Collections – South Africa
Galleries & Museums
Universities
Private Collections
1924
Received prize for design of the school badge for the Botshabelo Training College
1937
Received 2ndPrize in the May Esther Bedford Art Competition
1948
Painting was used for the South African Art Exhibition Poster, Tate Gallery, London
1959
Painting used as a poster for the Second Congress of Negros Writers and Artists, Rome.
1964
Awarded a prize at the Exhibition of African Art, Nemours, France
1968
Awarded XIXe Grand Prix International de Peinture de Deauville
1989
Received an Honorary Doctorate from the University of the Witwatersrand, Johannesburg
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Impressionist Modern
Irma Stern was a prominent South African artist who attained national and international recognition in her lifetime. Born in the Transvaal of Jewish-German parents, Stern spent her earliest years in South Africa. Following the Boer War, Stern and her family returned to Germany and began travelling frequently, which was to later influence her works and progress as an artist. From 1913-1920 Stern studied in Germany where she became associated with the German Expressionists of this period, one of her greatest influences. They encouraged her work and assisted her in arranging her first exhibition in Berlin in 1919. Stern returned to Cape Town in 1920 where she was initially disapproved of. Her work was not understood by the artistically unadventurous citizens. Stern, however, persisted with her vocation, with energetic brushwork and vivid use of colour in her numerous portraits, still life paintings and landscapes and was regarded as an established artist by the 1940s.
Irma Stern refused to visit or exhibit in Germany from 1933 to 1945, which resulted in several exotic expeditions in Europe and Africa. Stern explored Southern Africa, Zanzibar and the Congo and travelled extensively in Europe and her journeys supplied much inspiration in terms of subject matter and colour for her paintings. Her works featured exotic figures, portraits, fertile landscapes and still lifes in a range of media, varying from oils and water colours to gouache and charcoal. Stern’s work is a visual feast, providing a rich, textual experience for the viewer.
Almost one hundred solo exhibitions were held during Stern’s lifetime both in South Africa and Europe. Her initially controversial work played a huge role in introducing modern art to South Africa and she has paved a leading path for South African female artists. Stern’s works continue to rise in global interest in her passionate, rebellious nature which is reflected in her vibrant works increases. The Irma Stern Museum in Rondebosch, Cape Town, was established in 1971 in the house the artist lived in for almost four decades, until her death. This colourfullocation is an apt space to accommodate the famous works of such a celebrated and admired artist.
1894
Born of German-Jewish parents at Schweizer-Reneke, North West Province, South Africa
1896
Family visits Germany
1899
Brother, Rudi, Born
Second South African War begins
1900
British occupy Schweizer-Reneke (May)
Father and uncle arrested – Leaves for Cape Town with her mother (September)
1901
The family leaves for Europe and settles in Germany
1903
The family returns to Schweizer-Reneke
1904
Leaves for Europe, stopping at Zanzibar
Settles in Berlin
1909
Returns to South Africa with Johannes Prinz, settles in Wolmaransstad
1910
Visits Victoria Falls
Leaves for Europe via east coast and settles in Berlin (December)
1912
Commences formal art studies in Berlin
1913
Transfers to the Wiemar Academy, studies under Carl Fritjof Smith
Stern family visits Wolmaransstad and Cape Town, South Africa (August-December)
1914
First World War begins – Stern returns to Weimar Academy to study under Professor Gari Melchers (August)
Transfers to Berlin, studies under Martin Brandenberg
1916
Paints ‘The Eternal Child’
Leaves teacher Martin Brandenberg
1917
Meets Max Pechstein
1918
Founder member of ‘Novembergruppe’, Berlin
1920
Stern family returns to South Africa and settles in Cape Town
Publishes portfolios ‘Visionen’ and ‘Dumela Marena’
1921
Johannes Prinz arrives in Cape Town
1922
Visit to Umgababa (September)
1923
Writes ‘Umgababa Buch’ (May)
Travels to Europe on the Usaramoand meets Hippolyto Raposo
1924
Returns to South Africa
Visits Northern Transvaal, Zululand, Natal (March-September)
1925
Shared a studio with Ruth Prowse – 16 Wale Street, Cape Town
1926
Visits Swaziland and Zululand (March)
Marries Johannes Prinz (April)
Visits Europe
1927
Publication of Osborn’s monograph
Buys ‘The Firs’ residence, Rosebank, Cape Town
Visits Swaziland (October-November)
1929
Visits Pondoland (March)
1931
Visits Madeira (September-November)
Visits Europe (November)
1933
Informs Prinz that the marriage is over
1934
Divorce granted
1935
Samual Stern (father) dies
1937
Visits Europe
Spends four months in Italy
1938
Visits Dakar and Europe
1939
Visits Zanzibar for four months
1942
Travels to the Congo, exhibits in Elizabethville
1943
‘Congo’ published
1944
Henny Stern (mother) dies
1945
Visits Zanzibar
1946
Travels to the Congo
1947
Travels to Europe – exhibits in Paris, Rotterdam, London and Brussels
1948
Visits Europe – attends the Venice Biennale
Visits North Africa
1950
Visits Madeira, Madrid, south of France
1951
Painting trip to Natal
1953
Visits Rome and sees the Picasso retrospective
1955
Visits Europe and exhibits in Germany
Travels to Turkey
Visits the Congo
1956
Visits Europe and exhibits in Berlin
Rudi Stern (brother) dies
1959
Tours Europe
1961
Visits Europe – paints in Spain
1962
Visits Madeira and North Africa
1963
Returns from spending almost a year in Europe
Travels to Madeira for four months
1965
Paints on the Riviera, Paris
1966
Dies 23 August in the Volkshospitaal, Cape Town
1971
Conversion of her house The Firs,in Rosebank (Cape Town), into the Irma Stern Museum
1912
Commences formal art studies in Berlin
1913
Weimar Academy under Carl Fritjof Smith
1914
Studies under Professor Gari Melchers, Martin Brandenburg at the Levin-Funcke Studio, Berlin
Later returned to Wiemar for a brief spell at the Bauhaus
1918
Two works accepted by ‘Freie Sezession’, Berlin
1919
First Solo exhibition, Fritz Gurlitt Gallery, Berlin
1920
Publishes portfolios ‘Visionen’ and ‘Dumela Marena’
Exhibits with ‘Freie Sezession’, Berlin
1922
First Solo South African exhibition, Ashbey’s Galleries, Cape Town (February)
1923
Solo exhibition, Fritz Gurlitt Gallery, Berlin
1924
Exhibits Frankfurt, Leipzig, Chemnitz, Vienna, Berlin
Exhibited at The Empire Exhibition, Wembley, London
1925
Solo exhibition, Ashbey’s Galleries, Cape Town
Solo exhibition, Galerie Goldschmidt, Breslau
Solo exhibition, Galerie Goldschmidt, Frankfurt
1926
Solo exhibition, Levson Gallery, Johannesburg
Solo exhibition, Ashbey’s Galleries, Cape Town
Solo exhibition, Champion’s Art Gallery, Bloemfontein
1927
Solo exhibition, Galerie le Triptyque, Paris
Solo exhibition, Galerie Billiet-Vorms, Paris
Solo exhibition, Fritz Gurlitt Gallery, Berlin
Solo exhibition, Galerie Goldschmidt, Breslau
1928
Solo exhibition, Galerie Themis, Brussels
1929
Solo exhibition, Galerie Goldschmidt, Frankfurt
Solo exhibition, Galerie Billiet-Vorms, Paris
Solo exhibition, Galerie Nierendorff, Berlin
Solo exhibition, Kestner Gesellschaft, Hanover
Solo exhibition, Galerie Wurthle, Vienna
Solo exhibition, Ashbey’s Galleries, Cape Town
Selected to represent South Africa on Empire Art Exhibition, South Kensington, London
Works included in the International Jewish Exhibition, Zurich
1930
Solo exhibition, Galerie van Lier, Amsterdam
Solo exhibition, Galerie Kleikamp, Den Haag
1932
Solo exhibition, Foyles Gallery, London
Solo exhibition, Galerie Kleikamp, Den Haag
Solo exhibition, Fritz Gurlitt Gallery, Berlin
Solo exhibition, Galerie Billiet-Vorms, Paris
1933
Solo exhibition, MacFadyen Hall, Pretoria
Solo exhibition, Lazard Galleries, Johannesburg
1934
Solo exhibition, Newlands House, Cape Town
Solo exhibition, University of Stellenbosch, Stellenbosch
1935
Solo exhibition, Galerie Kleikamp, Den Haag
Solo exhibition, Selwyn Chambers, Cape Town
Solo exhibition, The Criterion, JohannesburgSolo exhibition, Durban Art Gallery, Durban
1936
Solo exhibition, Selwyn Chambers, Cape Town
Solo exhibition, The Criterion, Johannesburg
1937
Solo exhibition, Galerie Kleikamp, Den Haag
Solo exhibition, Cooling Galleries, London
Solo exhibition, Leger Gallery, London
Solo exhibition, Martin Melck House, Cape Town
Visits Dakar en route to Genoa
1938
Solo exhibition, MacFadyen Hall, Pretoria
Solo exhibition, Martin Melck House, Cape Town
1939
Solo exhibition, Sun Buildings, Cape Town
Solo exhibition, Transvaal Art Gallery, Johannesburg
1940
Solo exhibition, Gainsborough Galleries, Johannesburg
1941
Solo exhibition, Argus Gallery, Cape Town
1942
Solo exhibition, Argus Gallery, Cape Town
Solo exhibition, Musee Ethnographique, Elisabethville, The Congo
Solo exhibition, Durban Art Gallery, Durban
Solo exhibition, Gainsborough Galleries, Johannesburg
1943
Solo exhibition, Argus Gallery, Cape Town
1944
Solo exhibition, Argus Gallery, Cape Town
1945
Solo exhibition, Argus Gallery, Cape Town
Solo exhibition, Bothner’s Gallery, Johannesburg
1946
Solo exhibition, Argus Gallery, Cape Town
Solo exhibition, Bothner’s Gallery, Johannesburg
1947
Solo exhibition, Wildenstein, Paris
Solo exhibition, Argus Gallery, Cape Town
Solo exhibition, Gainsborough Galleries, Johannesburg
1948
Solo exhibition, Kunst Kring, Rotterdam
Solo exhibition, Roland Browse & Debanco, London
Solo exhibition, Van Eeckmann, Velp
Participated in the South African Art Exhibition, Tate Gallery, London
Solo exhibition, Argus Gallery, Cape Town
Solo exhibition, Christie’s Gallery, Pretoria
1949
Solo exhibition, South African Association of Arts Gallery, Cape Town
Solo exhibition, Gainsborough Galleries, Johannesburg
1950
Participates in the Venice Biennale
Solo exhibition, South African Association of Arts Gallery, Cape Town
1951
Solo exhibition, South African Association of Arts Gallery, Cape Town
Solo exhibition, Gainsborough Galleries, Johannesburg
1952
Participates in the Venice Biennale
Solo exhibition, South African Association of Arts Gallery, Cape Town
Exhibited at the Cape Tercentenary celebrations, Cape Town
1953
Solo exhibition, Gallery Andre Weil, Paris
Solo exhibition, South African Association of Arts Gallery, Cape Town
1954
Solo exhibition, South African Association of Arts Gallery, Cape Town
Participates in the Venice Biennale
1955
Solo exhibition, Galerie Wolfgang Gurlitt, Munich
Solo exhibition, Van Schaik Gallery, Pretoria
1956
Solo exhibition, Stadt Gallerie, Linz
Solo exhibition, Galerie Wassmuth, Berlin
Solo exhibition, Gainsborough Galleries, Johannesburg
Quadrennial exhibition of South Africa
1957
Retrospective Exhibition, Cape Town
Solo exhibition, South African Association of Arts Gallery, Cape Town
Participates in the Sao Paulo Biennale
1958
Solo exhibition, South African Association of Arts Gallery, Cape Town
Participates in the Venice Biennale
1959
Solo exhibition, Regency Gallery, Cape Town
Solo exhibition, Albini Gallery, Cape Town
1960
Solo exhibition, Galerie Wolfgang Gurlitt, Munich
Solo exhibition, Stadtische Gallerie, Salzburg
Solo exhibition, Staat Gallerie, Berlin
Quadrennial exhibition of South Africa
1961
Solo exhibition, South African Association of Arts Gallery, Cape Town
Solo exhibition, Fielding Gallery, Johannesburg
1962
Retrospective exhibition, Grosvenor Gallery, London
Solo exhibition, Lidchi Gallery, Cape Town
1963
Solo exhibition, South African Association of Arts Gallery, Cape Town
1964
Exhibits My Three Madeiras 1932 1950 1963,Cape Town
Retrospective Graphic exhibition, Cape Town
1965
Solo exhibition, Gallery Andre Weil, Paris
Solo exhibition, Walter Schwitter Gallery, Pretoria
1966
Eighteen paintings exhibited as a memorial tribute in South African Art of the 20th Century exhibition, Stellenbosch, South Africa
Retrospective exhibition, Wolpe Gallery, Cape Town
1967
Memorial exhibition, Grosvenor Gallery, London
1968
“Homage to Irma Stern” memorial exhibition, South African National Gallery, Cape Town, the Pretoria Art Museum and the Johannesburg Art gallery
Solo exhibition, Rembrandt Art Centre, Johannesburg
Public Collections – International
South African Embassies in:
Galleries & Museums
Universities
Private Collections:
1927
Received the Prix d’Honneur awarded at the International Exhibition, Bordeaux, France
1952
Received the Cape Tercentenary Molteno Grant
1959
Receives the Molteno Prize
1960
Wins the Regional Award of the Peggy Guggenheim International Art Prize
1963
Received the Oppenheimer Trust Award at Arts SA Today
1965
Awarded the Medal ofHonourfrom the South African Akademie vir Wetenskap en Kun
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(1886 – 1957 )
Impressionist Modern
Jacob Hendrik Pierneef was born in 1886 in Pretoria to Dutch immigrant parents. He left South Africa for Holland as part of the deportation during the Anglo-Boer War (1899-1902) and it was there that Pierneef attended the Rotterdam Academy before his return to Pretoria in 1902. In 1925, at the age of 39, Pierneef again returned to Europe and was exposed to the development of Post-Impressionism, a rejection or altered position from Impressionism following its halted state from the onset of the First World War in 1914, and the move into monumental decorative art.
Pierneef’s return to Europe marked the turning point in his visual and theoretical approach to composition and art making that remained in all his paintings for the entirety of his career. Mainly influenced by the school of thought developed by the Dutch artist and the oretician Willem Van Konijnenburg, which focused on the mathematical logic that should be employed when looking at a subject and then to project the underlying geometric structure into a work. These more graphical elements and styles stem from Egyptian and Assyrian art and Pierneef found a central relationship between this and African art which he translated into his landscapes. He continued to study Bushman paintings, looking at the flat surfaces as well as the schematic and geometrical principles which were used as the major part of each artwork’s construction.
Pierneef’s early works emulate these geometric principles and use simplified flat planes of colour with strong line and structural qualities. Although these principles are affluent in the development of Pierneef’s work, his greatest concern was the pursuit of harmony, order and balance which he reflected through the nature of his subject matter, primarily landscapes. Most of Pierneef’s landscapes that were completed between 1928 and 1935 exemplify his deliberate use of these geometric principles. This theory on his approach is not unlike that of Dutch born artist Piet Mondrian, whose final outcome resulted in complete abstraction. However, Pierneef was more concerned with the “decorative possibilities of his geometrical experiments and did not carry them to an abstract conclusion” (Berman, E. 1993:48), therefore marking a vital difference between his own interpretation and application introduced to him by Van Konijnenburg and his redefinition of these artistic and philosophical terms in a South African environment.
This approach gradually became less analytical and began to form Pierneef’s signature style of work in his linocuts, drawings and paintings. As Pierneef’s career advanced the philosophical and theological basis of the teachings he was influenced by were no longer deliberately delved into and completely fell away over time showing an absence of conspicuous geometry, but left a firm establishment of the equilibrium and proportion that was now forever inherent in his works.
Pierneef found a lifelong love of painting the Highveld and Transvaal areas of South Africa, rarely including figures or structures and if so it was often dwarfed into insignificance against the imposition and magnificence of the landscape rendered around it. His affluence as an artist and his passion for art as a teacher created a new outlook for landscape painting and marked a significant shift in thought and approach, making him one of the most pre-eminent old masters in South African art.
1886
Born in Pretoria
1900
Pierneef family deported to Holland via the East African Coast
1902
Returned to Pretoria with the end of the Anglo-Boer War
1910
Sold his first oil painting ‘Meintjies Kop’ to Emil Schweikerdt
1912
Appointed at the State Library in Pretoria
Exhibited with Smithard and Pieter Wenning as a member of ‘The Individualists’ Group’
1917
Elected as a member of South African Society of Artists
Drew illustrations for ‘Die Brandwag’
1920-23
Appointed lecturer in art in Pretoria and Heidelberg Normal Colleges
Showed his work in Cape Town and Stellenbosch
1923
Decided on a fulltime career in art
Painting expedition to South West Africa
1924
Divorced his first wife and remarried Marian Frances Schoop (witnessed by G.W. Pilkington)
Received his first commission, murals for a school in Ficksburg
1925
Travelled to Europe: exhibited in Amsterdam
Met Anton Hendriks – invited him to visit South Africa
Impressed by the theories of the Dutch painter, Willem van Konijnenburg
1926
Returned home via the East Coast
Painted a number of his most spontaneous impressionistic pictures such as ‘Mozambique’ in the Johannesburg Art Gallery
Began to experiment along unconventional lines – both divisionistic and what he referred to as ‘geometric’ styles, created ‘Study in Blue’.
Perfected a complex technique based on a casein medium
1929
t was announced in the press that Pierneef had received a commission for mural-panels for the new Johannesburg railway station
1932
November: The Johannesburg railway station mural-panels were completed and installed
1933
Commissioned to paint mural for South Africa House in London – spent two years in London
1935
Returned to South Africa
1936
Awarded Medal of Honour for Painting by South African Akademie
1947
Pierneef – The Man and His Workby JFW Grosskopf published
1950
Worked at the University College of Natal, Pietermaritzburg
1951
Awarded honorary Doctorate by University of Natal
1957
Died in Pretoria
1911
From this time participated in many group exhibitions in South Africa
1912-13
Exhibitions of ‘The Individualists’ in Pretoria
1913
First of many solo exhibitions held in Pretoria and The Netherlands
1920
Johannesburg Sketch Club Exhibition
South African Academy Exhibition
1921
Solo exhibitions in the Cape Province
1924
South African Art, Empire Exhibition, Wembley
1926
Solo exhibition, Amsterdam
1929
Participated in joint exhibition with Fanie Eloff, Johannesburg
1936
Empire Exhibition, Johannesburg
1948
Participated in South African Art Exhibition, Tate Gallery, London
1950
Held 25 year Retrospective Exhibition, Pieter Wenning Gallery, Johannesburg
1952
Van Riebeeck Tercentenary Exhibition, Cape Town
1953
Held Retrospective Exhibition, Potchefstroom University for Christian High Education
Rhodes Centenary Exhibition, Bulawayo
1962
Pierneef Festival, Johannesburg, Adler Fielding Gallery, Johannesburg
1965
Exhibition of Watercolours and Drawings, Johannesburg Art Gallery
1970
“The Complete Wood-Cuts of Pierneef” exhibition held, Durban Art Gallery
1972
Exhibition of Watercolours, Johannesburg Art Gallery
1973
Exhibition of the Restored Johannesburg Station panels plus associated sketches, Pretoria Art Museum
1974-75
Exhibition of the Marita J Pierneef Collection, University of Stellenbosch, Rand Afrikaans University and Potchefstroom University for Christian High Education.
1979
Station Panels installed in new Johannesburg Station Museum
‘South African Printmakers’, South African National Gallery, Cape Town
1980/81
Retrospective Exhibition of Pierneef and Van Wouw held, Pretoria Art Museum, Johannesburg Art Gallery, Durban Art Gallery, William Humphreys Art Gallery, Kimberley,
King George VI Art Gallery, Port Elizabeth and South African National Gallery, Cape Town
1982
“The Pierneef Collection” exhibited, Pretoria Art Museum
1984
Commemorative Exhibition, Pretoria Art Museum
1987
Exhibition of the Johannesburg Station Panels. Johannesburg Art Gallery
South African National Gallery, Cape Town
Public Commissions
1924
Mural, Ficksburg High School, Orange Free State
1929-32
Johannesburg Railway Station Panels
1933-35
Murals, South Africa House, London
1937
Mural, ‘ss Pretoria Castle’
1940
Two large pictures, Johannesburg Magistrates Courts
1955
Broadcast House, Johannesburg
1935
Received the first Medal of Honour for Painting awarded by the South African Akademie vir Wetenskap en Kuns
1951
Received Honorary Doctorate from the University of Natal
1957
Received Honorary Doctorate of Philosophy from the University of Pretoria
Made an Honorary member of the South African Akademie vir Wetenskap en Kuns
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(1886 – 1973)
Impressionist Modern
Maria Magdalena (Maggie) Laubser was born in the Malmesbury district, Cape Town, in 1886. She attended Bloemhof Seminary in Stellenbosch until the age of 15. She later attended singing lessons in Cape Town, where she became involved with a circle of artists and musicians. She shortly changed from singing to painting classes and became a member of the SA Society of Artists in 1907. She had her own studio in Cape Town until 1912 but, unable to directly earn a living through painting, she returned to the farm of her childhood in the Transvaal and took a position as governess on a farm near Ermelo.
She then met JHA Blawé, a successful businessman, who became her patron and convinced her parents to permit her to study in Europe. Laubser arrived in Laren, Holland in 1913, a village which was a magnet for artists from The US, The Hague School, England and France. This exposure to a wide variety of artistsinspired and awakened Laubser to new artistic possibilities, especially the exciting modern movements in the art world.
At the outbreak of the First World War Laubser moved to London and attended classes at the Slade School of Art from 1914 to 1919. The classes were too unadventurous for Laubser’s taste, who then started only attending the drawing classes. Laubser traveled around the Lake District in England and Scotland during this period, on her own painting trips.
In 1919 Laubser moved to Belgiumwhere she was exposed to Van Gogh’s work. She persisted with her outdoor painting, focusing on the scenic wheat fields in the area. Laubser remained in Europe for some time, living in Northern Italy where she painted prolifically for nearly a year. She then moved to Berlin from 1922 to 1924 where she had contact with Irma Stern and other German Expressionists. Laubser intensified the forms and brightened the colours in her work, giving her work an expressive symbolic character. She then painted a series of portraits of an authentic Expressionistic style.
Laubser returned permanently to South Africa in 1924 and had her first solo exhibition at the Argus Gallery in Cape Town, which was an economic and significant catastrophe. The conservative attitude of the Cape did not receive her bold, confrontational forms and unusual expressionistic use of colour warmly. Laubser, however, persisted with her exceptional expressionist approach to art and life itself. Though Laubser traveled seldom thereafter, she took painting trips round South Africa, producing portraits and landscapes. Laubser painted until her death at her home in 1973.
Laubser’s paintings have often been criticized for being naïve and childlike, but her history is an indication of her honesty and ambitiousness as an artist. Through her persistence in her personal vision and beliefs, she triumphed over the hardship of years of rejection as an internationally renowned South African master that is still celebrated today.
1886
Born 14 April on the farmBloublommetjieskloof,in the Malmesbury District
1893
Attended farm school, Rocklands – had private piano tuition
1897
Attended Bloemhof Seminary, Stellenbosch – was taught art by conventional methods
1901
Education interrupted to give her brothers the opportunity to study
Took singing lessons while living on the farm
Introduced to Professor Edward Roworth – had painting lessons for two months with Professor Roworth (painted from postcards)
1907
Elected member of the South African Society of Artists
1912
Visited family in Pretoria
Employed as governess in the Ermelo district – taught art and needlework
While on vacation in Durban met Jan Hendrik Arnold Balwe who offered to finance overseas study for her and her sister
1913
Travelled with Hannag to the Netherlands to study art and music
Lived in Laren – met artists, poets and writers
1915
Returned to South Africa briefly and visited her parents on the farmOortmanspost
Returned to London to resume her studies at the Slade School of Art
Influenced by friendship with painter Arnold Balwe (son of J. H. A. Balwe)
1919
Left England for Antwerp
Post-World War I travelled with the Balwes to Italy – en route saw work by the German Expressionists
1920
Lived and painted near Lake Garda and San Vigilio, Italy
Paid short visit to South Africa
1921
Travels to Bad Kissingen with Arnold Balwe and the ailing J. H. A. Balwe
Death of J. H. A. Balwe (April/May)
Travels to Venice, Milan and through the continent to England
Returned to South Africa (September)
1922
Returns to Europe and stays in Berlin
Visits Ahrenshoop on the Baltic Sea in the company of Irma Stern
Is introduced to Professor Jachels, a celebrated portrait-painter and teacher
Stimulated and influence by work of the Expressionists
1924
Attends concerts and exhibitions in Berlin
Becomes acquainted with expressionist painters living in Berlin
Returns to South Africa and takes up residence on the farmOortmanspost
1925
Work received with skepticism and poor critiques
Met D. C. Boonzaier and Moses Kottler
1926 – 1928
Visits and paints in various places along the coast of the Western Cape
1929
Introduced by Mieke Siegers to Prof. and Mrs Serton who encouraged her to hold and exhibition in September
Official recognition from the Union Government who purchased work for their overseas embassies
1931
First exhibition in the Transvaal
Took painting trips throughout South Africa
1933
Elected as member of the South African Academy of Arts and Science
1935
Travels throughout South Africa with an extended stay in the Free State
1936
Her father dies on 3 May
Her mother dies on 20 November
1942
Moves to Rusoord, Strand, Cape
1944
Publication of the bookMaggie Laubserby Johannes Meintjes
1946
Visits the Free State, Natal and Transvaal
1947
Settles at ‘Altyd Lig’, Strand, Cape
1953
Visits Natal
1957
Experimented with abstract forms
1973
Died at her home in Strand, Cape, on May 1
1914
Studied at Slade School of Art, London
Refused to paint while studying in order to preserve individuality, modeled with clay
1915
Returned to the Slade School of Art, London
1922
Painted and studied under Professor Jachels, Germany
1909
Group exhibition,Second Annual Exhibition of the Fine Art Association,Cape Town
1922
Group exhibition,Twenty-First Annual Exhibition of the South African Society of Artists,Cape Town
1924
Solo exhibition, Ferdinand Postma Biblioteek, Potchefstoom
1925
Solo exhibition, Argus Gallery, Cape Town
1929
Group exhibition, Inaugural Exhibition of Die Federasie van Afrikaanse Kultuurvereniging, Bloemfontein
Exhibition at Stellenbosch
1931
Solo exhibition, MacFadyen Hall, Pretoria
Solo exhibition, Martin Melck House, Cape Town
1932
Group exhibition,First Annual Exhibition of South African Art,South African National Gallery, Cape Town
1933
Group exhibition,Second Annual Exhibition of South African Art,South African National Gallery, Cape Town
1936
Group exhibition,Fifth Annual Exhibition of South African Art,South African National Gallery, Cape Town
Group exhibition,The Empire Exhibition,Johannesburg
1937
Group exhibition,Art from the Commonwealth,Royal Institute Galleries, London
1938
Joint exhibition with Rene Graetz, Cecil Higgs and Lippy Lipshitz
Group exhibition,Orange Free State Society for Arts and Crafts Exhibition,Bloemfontein
1942
Solo exhibition, Argus Gallery, Cape Town
1943
Group exhibition,Fifth Annual ‘New Group’ Exhibition,Argus Gallery, Cape Town
1944
Group exhibition,‘New Group’ Spring Exhibition,Argus Gallery, Cape Town
1945
Group exhibition,‘New Group’ Spring Exhibition,Argus Gallery, Cape Town
Solo exhibition, South African Association of Arts Gallery, Cape Town
Solo exhibition, Constantia Gallery, Johannesburg
1947
Group exhibition, ‘New Group’ Exhibition,Argus Gallery, Cape Town
1948
Group exhibition,Contemporary South African Paintings, Drawings and Sculpture, Tate Gallery, London
Solo exhibition, Derry’s Gallery, Cape Town (March)
Solo exhibition, Bloemfontein (June)
Group exhibition,South African Art,Fine Arts Association, Cape Town
1949
Solo exhibition, Argus Gallery, Cape Town
Solo exhibition, Constantia Gallery, Johannesburg
Group exhibition,‘New Group’ Exhibition,South African Association of Arts Gallery, Cape Town
1950
Solo exhibition, South African Association of Arts Gallery, Cape Town
1951
Group exhibition,‘New Group’ Exhibition,South African Association of Arts Gallery, Cape Town
1952
Solo exhibition, South African Association of Arts Gallery, Cape Town (April)
Solo exhibition, Pretoria (September)
Group exhibition,Venice Biennale XXVI
Group exhibition,Van Riebeek Festival Exhibition of Contemporary South African Art,South African National Gallery, Cape Town
1953
Solo exhibition, Whippman Gallery, Johannesburg (October)
Group exhibition,Central Rhodes Centenary Festival Exhibition: Three Centuries of South African Art,Bulawayo
1954
Solo exhibition, South African Association of Arts Gallery, Cape Town (May)
Group exhibition,Venice Biennale XXVII
1955
Solo exhibition, South African Association of Arts Gallery, Cape Town (May)
Solo exhibition, Technical College, Pretoria
Group exhibition,Historical Exhibition of South African Art,Pretoria Centenary, Pretoria
1956
First Quadrennial Exhibition of South African Art, South African National Gallery, Cape Town
1957
Solo exhibition, Argus Gallery, Cape Town
Solo exhibition, South African Association of Arts Gallery, Cape Town
1958
Group exhibition,Academy for Arts and Sciences Festival Exhibition, Stellenbosch
1959
Solo exhibition, South African Association of Art Gallery, Cape Town (April)
Solo exhibition, Pretoria (September)
Group exhibition,Eight Contemporary South African Painters,Gemeentelijke Museum, Den Haag, Netherlands
Group exhibition,Still Life and Flowers by some Women Artists of the Cape Peninsula,South African National Gallery, Cape Town
1960
Second Quadrennial Exhibition of South African Art,South African National Gallery, Cape Town
Group exhibition,Looking at Landscape – South African Landscape Painting 1910- 1960,Union Festival, South African National Gallery, Cape Town
1961
Solo exhibition, Lidchi Gallery, Johannesburg
1963
Maggie Laubser Retrospective Exhibition,Egon Guenther Gallery, Johannesburg
1964
Group exhibition,South African Masters Exhibition,South African Association of Arts Gallery, Cape Town
Third Quadrennial Exhibition of South African Art,South African National Gallery, Cape Town
1965
Solo exhibition, South African Association of Arts Gallery, Cape Town
Retrospective Exhibition, South African National Gallery, Cape Town
Solo exhibition, Lidchi Gallery, Johannesburg
1966
Group exhibition,South African Art of the Twentieth Century,Rembrandt van Rijn Art Foundation, University of Stellenbosch
Group exhibition,Annual Exhibition of the Eastern Province Society of Arts and Crafts
1967
Group exhibition,Ten Best South African Women Artists,Adler-Fielding Galleries, Johannesburg
Group exhibition,Cape Art ’67,South African Association of Arts Gallery, Cape Town
1968
Group exhibition,Festival of the Soil,Silberberg Gallery, Cape Town
1969
Retrospective Exhibition, South African National Gallery, Cape Town, the Pretoria Art Museum and the Johannesburg Art Gallery
1975
Prestige Exhibition, Rand Afrikaans University
1980
Prestige Exhibition, University of Stellenbosch
1986
Centenary Exhibition, Silberberg Gallery, Tulbagh, Cape Province
1987-88
Early Works from the Silberberg Collection,South African National Gallery
2012
Retrospective Exhibition,Altyd Lig,Sasol Art Museum, Stellenbosch
Public Collections – South Africa:
Galleries & Museums – South Africa:
University Collections – South Africa:
1946
Awarded the Medal of Honour by the South African Akademie vir Wetenskap en Kuns
1947
Received the Oscar Award for painting from theDie Vanderlandnewspaper
1959
Elected honorary member of the South African Akademie vir Wetenskap en Kuns
1968
Awarded Medal of Honour by the South African Association of the Arts for the Cape Region
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