Siet Zuyderland - Beautifully detailed pencil drawing "facade" framed - signed - Sold

• Siet Zuyderland was born on May 11, 1942, in Amsterdam, two years after the outbreak of World War II in the Netherlands. It seems an impossible time, in the middle of the war. His father was working in Germany, along with an older brother and sister. His mother was on her own, and it wasn't until three years later that his father saw his youngest son for the first time. Those must have been difficult times.
• At 15, he worked at an advertising agency during the day and attended the Vrije Academie (Free Academy) in the evenings to draw models. At 16, he enrolled in the Institute for Applied Arts Education in Amsterdam, a precursor to the Rietveld Academy. He earned extra money in the evenings to pay for school and his board.

A true self-made man, born into a 1950s environment, a child of World War II; living a life entirely on his own, working incredibly hard to survive.
A meeting, three years after the Academy, with former teacher Wim Brusse and Eva Besnyö, provided an introduction to the art world and thus a flying start to his career with exhibitions at De Brakke Grond, organised by Jan Van Loenen Martinet, and at Atelier 5 in the Stedelijk Museum in Amsterdam under the then director Edy de Wilde.
And now, in the years since the heart transplant, a whole new series has emerged.
Siet Zuyderland has refurbished the existing studio on the ground floor of his house and, close to home, is steadily working on his oeuvre. It's there that his most extraordinary, intimate works emerge, a condensed summary of his life. An implosion, call it what you will. The works consist of many layers of painted work, one after the other; at first, you don't know what you're seeing. Names that previously appeared in his own notes now reappear: Matta, Saura, but I'd also say Adolph Gottlieb or Rothko's early realistic work. An unexpected combination of surrealism and construction, unleashed yet certainly in a strong armor.
The works are moving; you see stitches, wiring, crackle, but also references to his earlier work and references to art history.
The formats are even smaller than before, the technology is great, as is his always lurking perfect sense of aesthetics through which he wants to go.
The works are especially moving because, at this point, you can slowly see and feel the development of his oeuvre.