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Ets van de Belgische etser Jakob Smits
Ets van de Kempische etser Jakob Smits kopen
Aan de schandpaal, ets van de Belgische kunstenaar Jacob Smits
J. Smits met een ets, verzamelstempel achteraan
Ets met verzamelstempel van Albert Van Loock
Aan de schandpaal
Aan de schandpaal
Ets van de Belgische etser Jakob Smits
Ets van de Kempische etser Jakob Smits kopen
Aan de schandpaal, ets van de Belgische kunstenaar Jacob Smits
J. Smits met een ets, verzamelstempel achteraan
Ets met verzamelstempel van Albert Van Loock
Aan de schandpaal
Aan de schandpaal
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Aan de schandpaal

Smits Jakob

Artist: Jakob Smits  (Rotterdam 1855 - 1928 Achterbos (Mol))
Technique: Etching
State: See pictures
Signature: Atelier stamp
Sale with frame: No
Size picture (in cm): 9.5 cm x 8 cm (Moet)
Dimensions of the work: 28 cm x 20.5 cm
Obtained: Auction
Remarks:  Collector's stamp at the backside from Albert Van Loock

Smits was a religious symbolist. About twenty of his 89 etchings have a biblical subject. These are scenes from the New Testament. Although the chosen gospel themes are classic, Smits is extremely personal in them. He expresses the uncomplicated and deep religiousness of the people, the total connection of their everyday life with the higher, by anachronistically bringing the biblical images to the Kempen at the turn of the century. The interpretation of this etching is not easy. It is not clear whether the naked figure of Christ is tied to the pillory or detached from it. Is the man in civilian clothes in the foreground Smits himself? Does his kneeling position express reverence, or - as in the Bible story - mock reverence and therefore mockery? The farmer in the back unmistakably has a sarcastic grin on his face. The etching is certainly reminiscent of paintings such as Salome, in which Smits has placed his own head on the saucer, and of Pieta, in which he figures as the deceased Christ. The appearance of the artist himself in a religious context - with possibly an ironic ulterior motive - seems Ensorian. The lines in this etching are also reminiscent of Ensor. Matthew 27: 27 - 31 (Jakob Smits Museum)

€184,00
(Price excluding VAT)
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Artist: Jakob Smits  (Rotterdam 1855 - 1928 Achterbos (Mol))
Technique: Etching
State: See pictures
Signature: Atelier stamp
Sale with frame: No
Size picture (in cm): 9.5 cm x 8 cm (Moet)
Dimensions of the work: 28 cm x 20.5 cm
Obtained: Auction
Remarks:  Collector's stamp at the backside from Albert Van Loock

Smits was a religious symbolist. About twenty of his 89 etchings have a biblical subject. These are scenes from the New Testament. Although the chosen gospel themes are classic, Smits is extremely personal in them. He expresses the uncomplicated and deep religiousness of the people, the total connection of their everyday life with the higher, by anachronistically bringing the biblical images to the Kempen at the turn of the century. The interpretation of this etching is not easy. It is not clear whether the naked figure of Christ is tied to the pillory or detached from it. Is the man in civilian clothes in the foreground Smits himself? Does his kneeling position express reverence, or - as in the Bible story - mock reverence and therefore mockery? The farmer in the back unmistakably has a sarcastic grin on his face. The etching is certainly reminiscent of paintings such as Salome, in which Smits has placed his own head on the saucer, and of Pieta, in which he figures as the deceased Christ. The appearance of the artist himself in a religious context - with possibly an ironic ulterior motive - seems Ensorian. The lines in this etching are also reminiscent of Ensor. Matthew 27: 27 - 31 (Jakob Smits Museum)