ARTLife

THE SOUTH AFRICAN Supplement to The SA Art Times August 2010

The Art of our lifetime

Artist Lionel Davis

Kalk Bay: an artist’s paradise on earth

photographic essay by Jenny Altschuler
The Kalk Bay Culture Mile lies on the cusp of the Kalk Bay harbour, fishing-trawler pier and fish market, separated by the booms of the Railway line connecting it to all
the points along the route from Simonstown through to central Cape Town. The combination of qualities of European Riviera, classic South African fishing centre, the
coastal light and colours creates a unique atmosphere which attracts art lovers to set up Art galleries, fine craft showrooms and performing venues.
On any day one may enter the beguiling façade of commercial galleries and restaurants servicing tourists and craft purchasers, but once you scent the trail, you will
come across more and more artists and fine crafters who have set up their studios and are working dedicatedly in this inspiring context.
All Photographs and Text by Jenny Altschuler
(Top) Every journey to Kalk Bay uncovers a new palette of colours. Each particular weather, time of day, and different season affects the nuances of each colour.
At times winter afternoons filter in sultry greys and blues on wet days. In this light one may remember some clarity of detail and social conscience.
(Below) The Camelride : On the way to Ocean View from Fishhoek, one must traverse the No-Man’s territory created by these dislocated camels and their Nigerian
caddies. My mind traverses the Arabias, the middle East and then suddenly I am back in the post colonial South Africa.
(Top) Wayne and Lynne live in Muizenberg, they often spend lunch hour in Kalk Bay Harbour.
(Below) View from Cathy’s Studio, The False Bay light has inspired many an artist, poet and writer including Molly Townsend and Terence McCaw.
(Top) Kalk Bay Modern: Cheryl Rumbak, gallery owner and curator, aims to showcase local and national fine artists in curated exhibitions, maintain a commercial profile,
as well as engage in socially responsible national and international projects. The Gallery sits on top of the famous Olympia Cafe. Above all of this, on the 2nd floor,
Chris Bladen, artist sculptor is busy moving in to set up his studio. (Below left) The Olympia Cafe (Below right) Kalk Bay Modern interior
(Top) Kalk Bay Gallery is one of a group of 8 galleries that run under Fine Art Portfolio. Dena Koehorst, the manageress, also owns the ice cream parlour down the road.
The gallery showcases Cape and National viable art. Kalk Bay painters, David Bucklow and ex Zimbabwean Kudakwashe Gavi are among the top sellers.
(Middle) : Fishermen: Toyer Cozyn with his crew The Cozyn family is one of the old fishing families in SA. (Middle right) View from the Kalk Bay harbour.
(Below left) Descending down Boyes Drive into Kalk Bay. (Below right) Houses on the bend: Approaching Kalk Bay from Simonstown holds a pleasant surprise at the
final corner around the bend.
(Top) Cathy Layzell and Hardlife at the Olympia Bakery
(Below) Theresa Jo and her husband CP Wessels iron work at Artvark Gallery
Olympia Café and Deli : Although Olympia’s restaurant is unpretentious with wooden tables and simple furniture, its ambiance of Greek island with kitchen inside the
dining space and wonkily hung paintings and photographs by local artists give it its unaffected yet charming character. Put your name on the board and you will get a
table as soon as your name is at the top of the list.
(Top left) Katherine at her studio window : Katherine Glenday blows on the leaves at the window. The vibrations caused by her breath excite her as well as the light
coming in to the studio at The Forge. She professes to actively include light and sound in her ceramic pieces. Her projects present different resonances transparencies
through which light and sound can be held, transmit, resound and be heard, as well as be seen and imagined. Both light and sound are abstract waves that ebb and
flow into the world. To make these visible seems to be her mission.
(Middle left) Pot instruments : Seven years ago Katherine became aware that the various sizes, shapes and dimensions of the pots made particular sounds, notes on
the octaves. She developed this potential and has performed with her pot instruments for almost as many years in different parts of the world and in different environ-
ments, from desert lansdcapes, to city galleries. “I work with porcelain because it is my way of transforming all that feels insufferable in life. It is a way of catching ‘the
light’ which shines every day – on good and bad. Inhabiting the poetic and imaginal realm and making this visible requires active ‘dreaming’, It is my role and holds my
prayer for life.” Katherine Glenday.
(Bottem right) Charles Fauville attends Katherine Glenday’s weekly Friday potter’s classes her studio The Forge. Katherine says that he is not her pupil. They studied
sculpture briefly at University in the Eastern Cape at the same time in their late teens. Charles has recently retired from his long time position as instructor in sculpture
and general art production at the famous Frank Joubert Art Centre in Newlands. The studio sessions are also open to those who just need space and atmosphere to
work.
(Bottem right) Seni Senevirane lives in Kalk Bay and attends the Friday potter’s session at the Forge. A psychotherapist by profession, Seni is sensitive to the personal
yet public story, accessing human emotion and psychological frquencies with poetry and acappella in her performance art, in order to move and affect the world. Here
Seni gives a taste of whats to come on Saturday night at her upcoming performance at The Forge, that will include work from her new collection in progress.
(Above) Friday after the weekly ceramic class : I say, “Take a minute. Relax.” Katherine Glenday has been fussing over the mess in her studio and her lack of prepara-
tion for me, the photographer and her sick daughter upstairs in the awesome house with THE view. Katherine seems to need to be organized and then to hide the or-
ganization process away and be left with the perfect facade, the divine product. I can’t fathom what she is talking about? To me it’s more ordered than any studio I have
used. On a daily basis The Forge is tidied away, almost excavated...no trace that it was used; but in this way, the next performer, workshop co-ordinator or musician can
arrive and set up in a perfect, clean space.
(Top left) : Nic through the tube: Half the work is to construct the tools with which to cast the various pieces that make up each artwork. Many containers and vessels cannot
be bought and Nick spends half the time dedicated to creating these himslef in order to complete the final products. Smoothing down all sides and being exact is very
inportant. Here nick checks to see that the inside of this casting vessel is smooth all round.
(Middle left) : Emily Banda places singlly cast small parts in appropriate positions. This delicate mission requires great patience, precision and visual sensibility in order to
achieve authenticity yet artistic composition. She has learned all she knows from Nick, and being a fast learner, she mimics his style becoming an extension of his artistic
realm. She and her husband Gilbert are about to begin building their first home in Malawi from the money they earn assisting in this capacity. Gilbert works in a similar
portfolio for Nick’s sculptor brother, Chris, in his studio in Kalk Bay.
(Middle right) : Chris and Gilly with Eliphant : Gilbert assists Chris on all his sculptures. Their relationship is strong and Chris admits that he will find it a strain without Gilly
over the months he is away back home in Malawi taking time to build his new home for Emily, the baby and himself. Gilly makes small cast animals himself mimicking the
technique that Chris’s dad in his craft tourist business, as they were growing up. Nick and Chris both studied dentist mould construction and use the techniques they learned
to create their nature orientated sculptures.
(Bottom left) Protea before casting: Pouring the molten liquid material onto the flower and allowing it to seep in to all the cracks and nooks creates a perfect negative shape.
The plant disappears to ashes from heat inside eventually and only the mould with its hole remains. Many of these vessels, created by Nick for this purpose, are the only
ones of their kind in the world.
Jane and Bruno in the studio etching : Recently Jane Eppel set up a system which allows her to process her etchings at home. Like Nick (Her partner) her work is finely
detailed, but unlike Nic, she needs no-one and can work for days on her own, surfacing with finished pieces. Today she prides a pile of 10 prints from each etching plate
(of editions of 20) in neatly wrapped packages for delivery to various clients and galleries who already await them. “You can’t rub anything out” she warns, “Every stroke
is permanent”. Bruno is her subject for this image which will be one of a series under a possible title of “Let Sleeping dogs lie.” Jane’s studio runs into the courtyard
where Nic Bladen and Emily Banda are extracting their moulds.
Jane Eppel and her mom, Lynn Eppel are very close. Today they discuss a collaboration which will combine their talents and techniques on an
upcoming show. Jane is considering Lynn threading or sewing in some way into 2 D pieces in order to extend the layers of dimension of a body of work
for submission. Jane’s pieces often push the boundaries of convention of format of the medium. Her canvases are often constructed before she begins
with 3 dimensional enclaves causing the opposite effect of ‘relief’. Her new etching plate has been cut to an uneven circular shape.
(Top left) Painter, Cathy Layzell in her Blue Room stacked with paintings created over the past year or two. A really dedicated and prolific artist, Cathy arrives at her stu-
dio high up on hill, most days, even on weekends. Light and colours are most important to her, and the window views of the mountain on the one side and the harbour
and sea on the other are a constant source of inspiration. Having studied painting at Rhodes and completed an informal ‘finishing era’ through England and Europe over
8 years, escapading on and off with painting in the south of France, Cathy veered towards Kalk Bay for its light and atmospheric artist’s hub. Her love affair with this
small harbour town is so passionate that it causes her boyfriend to be jealous. She is busy on an order of 6 small canvases for an exhibition in Johannesburg.

(Top) Cathy Layzell’s Studio: The light in her studio comes from a window on each side of the room. When the light ceases climb the hill, Cathy packs up and heads
home to Hout Bay. She leaves her still lifes up to continue to paint tomorrow.
Tuesday mornings life drawing sessions are open to artists from all over. Today’s group includes an English artist in Cape Town for 2 months, as well as students
passing through in their winter holiday. A large number of dedicated artists live in the surrounding areas, but the group ebbs and fills with others who journey weekly
from Newlands, Observatory and Central Cape Town. If you arrive early enough you will access an easel, a board, pegs, clips, chairs and tables. The group has been
in existence for many years and has even exhibited their work in a group show. The models change weekly and return often. Andi really inspires the group, his quiet
energy maintaining the poses from 2 minutes to 15 minutes or half an hour with ease.
(Top) Lionel Davis is an awesome character, positive, jovial and dedicated to cultural involvement. In between his serious poses, he roared with laughter trying on his
various hats that he has collected over the years to enhance his mood for painting. Over the past many years. Lionel has travel to many art and political centres of the
world, invited to talk about his experiences during and post Apartheid. It is through these working opportunities that he has been able to set himself up comfortably
in Muizenberg, he says. Lionel in his studio with one of his “Coloured Man” self portraits. Having been incarcerated on Robben Island, under house arrest during the
apartheid era and later choosing to live and work on the island after it became a heritage site, Lionel professes to be an escapist in his work. “I do not deal with pain” he
admits. (Below) Lionel and Peter Clarke are close friends. Lionel, his wife and Peter often sojourn over weekend into central Cape Town where they do exhibition hop-
ping and other cultural activities. Peter Clarke is a well known and prolific visual artist, having succeeded is surviving solely through the sale of his artworks and artistic
application. He and Lionel discuss Lionel’s artworks presented for the Irma Stern show.
(Top) George of Quagga Trading views his treasure trove of books and collectibles, (Below middle)
(Below) A schoolgirl, looking out from Quagga Trading, George the security guard at Quagga makes sure everything is fine, Jane Eppel with Bruno greeting me,
The railway house. Roy Roach from Fishhoek in the big mirror

Have your Artist’s feature with us in the new SA Art Life Magazine

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E-mail examples of your artwork to be selected by our selection panel to be featured in the next SA Art Life

Selected artists enjoy different rates to other SA Art Times and Business Art publications

Chat with Eugene directly on 021 424 7732 or e-mail sales@artlife.co.za

(Top) The Potters shop and adjacent park
(Below) School girl, Dog walker, at the Labia Museum - Muizenburg, Plumber and avid runner doing his excercise.

Dear SA Art Life Reader

The art of our time will determine for future generations who we were and what values we celebrates or strived for in our colourful lives. To date
much of what is written about South African art is by academics whose generally dry writing is devoid of the artist’s personal life and indeed, motive
for producing art. On the other extreme commercial art publications are generally all too ready to take any artist without setting any real quality
criteria of the work- but who throw money at the publisher in order for the work to be published.

At Art Life we try to get the best of both worlds. We firstly select the artwork and artists carefully and then invite them to consider to have their
work published. Each month thousands of images pass over our desktop and only a few are placed aside, like a diamond sorting tray with tons
of pebbles, not knowing from were the next surprise will come from.
With our artist’s profiles in Art Life (a new section) I spend much time viewing artwork from many sources and contact the ones we enjoy, and
we approach the artist (by invitation only) to see if they would like to come in with an artist’s profile, and share the cost of production. Sometimes
the artist can’t so we make a plan, but it’s a good means in order to bring South African beauty into the world and be able for the Art Life Magazine to
strongly sustain itself in the arts community.

If you would like to submit your work to be considered for a profile in The SA Art Life Magazine e-mail your work to editor@arttimes.co.za
and we can go from there. Alternatively chat to Eugene directly on 021 424 7732.
Once selected there is a minimal cost for the artist in covering production costs.
 CELEBRATING
CONRAD THEYS’ 70TH BIRTHDAY
Together with the launch of his book and exhibition
THE ART OF CONRAD THEYS –
SOUL OF THE LAND
Conrad Theys’ 70th birthday will be celebrated on 8th artists composed of Boonzaier, Alexander Rose-Innes,
September with the opening of a retrospective of this Dawid Botha and Marjorie Wallace amongst others.
celebrated artists’ work at the Sasol Art Museum in This retrospective exhibition will feature works in oil,
Stellenbosch, held in conjunction with the Stellenbosch pastel, watercolour and some early drawings, providing a
Art Gallery. The exhibition, comprehensive overview
to be opened by Prof. of Theys’ oeuvre, which
Russell Botman, coincides includes still-lives, landscapes
with the launch of the and depictions of Western
richly illustrated book, Cape mission stations, rural
The Art of Conrad Theys – as well as urban dwellings.
Soul of the Land, written Renowned for his studies of
by Prof Alexander Duffey quiver trees set within arid
and compiled by Meyer rock formations, his works
Grobbelaar. Seventy obtain their honest strength
leather-bound Collector’s from an intimate knowledge
edition volumes, as well as of the land’s textures,
the standard edition, will moods and rhythms. A
also be presented at this distinctive sinuous linearity
occasion where books and sensitive application
will be signed by the artist. of colour mark his oil
Apart from the book and pastel still-lives. From
launch and retrospective, the mid-1970s, Theys has
an exhibition of selected documented the neighbour
works will be available for hoods, homes and lives
sale from the 9th of September at the Stellenbosch Art from those Cape communities marginalized by segregationist
Gallery. policies and his paintings of District Six, Crossroads and Philippi
Theys was born in the town of Montagu on the 9th of capture both the vulnerability and vitality of these areas.
September 1940 and he describes himself as a child of nature, Throughout his career Theys was involved in various initiatives
recalling with fondness the days of his youth spent wandering dedicated to arts education and for ve years held the position
the veldt, studying and collecting the stones found in the of president of the South African National Association for the
landscapes of the Klein Karroo and later Namaqualand. Visual Arts. From 1995 to 2003, he was co-ordinator and
Trained as a teacher, his instruction in the arts commenced adjudicator of the prestigious ABSA Bank Atelier Competition.
in 1969 when he sought guidance from artist Gregoire In 2004 the University of South Africa awarded him with an
Boonzaier, under whose mentorship he worked until 1972. honorary doctorate for his contribution to the arts and this
In 1974 Theys embarked on a full-time artistic career, and year he was awarded a Medal of Honour for the Visual Arts
augmented his studies under Edwine Simon at the Ruth by the South African Academy of Science and Arts. His work
Prowse School of Art in Cape Town between 1981 and can be found in major South African collections, including the
1982. Described as one of the last ‘Cape Impressionists’, SABC, SA Reserve Bank, Rand Merchant Bank and the ABSA
Theys became the youngest of an inuential circle of Cape Art Collections.
 OPENING
Wednesday, 8 September 18:30 for 19:00
THE SASOL ART GALLERY
52 Ryneveld Street, Stellenbosch
Tel: (021) 808 3691
EXHIBITION
Thursday, 9 – 26 September
STELLENBOSCH ART GALLERY
34 Ryneveld Street, Stellenbosch
Tel/Fax: (021) 887 8343 www.stellenboschartgallery.co.za
 mba Girl on crystal base

Heather Auer
Art & Sculpture Gallery
We are a family run business. In the photo are my
wo sons, Uwe and Michael, my husband, Manfred
nd myself.
We have been running the gallery in Simon’s Town
or over eleven years now and I have been painting
nd sculpting on a professional basis for about thirty
ears.
ove South Africa although I was born in Scotland
nd emigrated here with my family at eight years of
age.
I love the fact that we can all work together at
making the gallery a success. Michael does the
framing and looks after the Hout Bay gallery and
Uwe and Manfred run the Simon’s Town one.
The theme running through most of the work is
African as I am passionate about South Africa and
consider this my home.

www.heatherauer.co.za
Quayside Centre, Wharf Street, Simon’s Town 7975 Tel: 021 786 1309
Shop 3, Red Sails, 22 Main Rd, Hout Bay 7806 Tel: 021 790 0947
 Township Soccer Player

Girl with Dove

Male Torso

African Sister
Maureen Quin
Sculpture is my passion. It’s an
extension of me, reflecting my
thoughts, my loves, my hates, joys
and fears. Whether I am involved
in representational wildlife studies,
realistic figure studies, portraits or
abstractions, I put my heart and
soul into it.
Each sculpture is an exciting
journey. Starting with a vague
concept, sketching, where I
compose shapes, forms and
the spaces between these, on
paper and in my mind. I draw until I get under
the skin of my subject, until I can “feel” that
sculpture in me. After constructing the armature,
I concentrate on the shapes and forms in space,
the composition and silhouette. Suddenly the
work takes on a life of its own, the emotional
content starts to manifest, the dialogue begins
between myself and the sculpture. This dialogue
is essential; it’s a tremendous stage of discovery,
an adventure into my own inner self. While I work
I’m constantly looking at the composition in
space, the tensions within the individual forms
and the relationships between them. To me this is
the essence of sculpture. In the process I use my
experience and my gut feelings to guide me until
I’m satisfied within myself that the sculptural form
I’ve created moves in space and is in harmony
with my vision.
Mother Love, 2009
In my career as a sculptor I’ve used
the figure extensively. In many of my
studies I endeavour to capture the
rapport between man and animal
by combining the two to create
sculptures that are uniquely my
own abstract expressive approach.
This interdependence is illustrated
in my most recent work, “Culprit”
where I express my revulsion for
the senseless destruction of the
rhinoceros for the manufacture of
aphrodisiacs for male gratification,
male dominance through sex and the resultant
effects on future generations.
My sculptures are sculptures first and foremost,
the result of deep emotional responses to the
world around me. Creating and searching for the
ultimate realisation of my vision is the fulfilment of
my life.
In an academic paper by Dr Agurtxane Urraca,
published in Goya, Revista De Arte, Madrid 2001,
my work was aptly described as follows; “Her work
constitutes without a doubt a solid investigation
of the form and the spirit of man. Figures which
often appear to be deprived of volume succeed
in scanning the horizons of time. She succeeds in
fusing the abstract and figurative world of Henry
Moore, the surrealism of Giacometti and the world
of Africa, all mixed with the most intimate essence
of the artist herself.”
Mandela Portrait: Commission Charlotte, 2010 The Ultimate Sacrifice, 1999:
for Mandela Hall Rhodes Part of the Hunt Series
University Grahamstown, 2004

Revelation: Part of the Interaction The Kill, 1996: Part of the Hunt Series
Series, 2003

Culprit June, 2010 Jade, 2007

IZIDRO DUARTE
AFRICAN NARRATIVES
Izidro Duarte’s childhood years living in the outskirts of Lourenco Marques in
the late 1940’s and early 1950’s left an indelible impression. For a young pupil
of the Sao José de Lhanguene Mission School the surrounding village life of
the Shangaan people became firmly and visually imprinted – imagery of
people living close to nature.
Izidro Duarte’s subsequent move to South Africa in 1952 has not dimmed
his love for Africa, it has dominated his subject matter throughout his
professional career.
Duarte’s work has over time undergone many exploratory changes in
technique and idiom but the depiction of the human figure has always
remained constant. Exploring fresh methods of expression keeps him from
stagnation – his two and three dimensional sculptures are a reflection of this.
Duarte’s reclusive nature and his aversion to city life has left his work
underexposed, but there is no extracting him out of trying to capture an
Africa that is rapidly changing gear into world assimilation.
Izidro Duarte was born in Ortiga / Portugal. He arrived in South Africa in
1953. He studied art at the Witwatersrand Technical College in Johannesburg from 1959-1961, under the
tutelage of Professor Robert Bain, Phil Botha, George Boys, Joyce Leonard, Phil Kolbe and Anna Vorster.
In 1962 and 1963 he worked as a free-lance illustrator before travelling to the UK and Europe in 1964 for three
years to further his own art studies. He returned to South Africa, embarking on his present art career in 1970.
Duarte has had solo exhibitions in Johannesburg, Durban, Lisbon, Birmingham, Amsterdam, Sydney, Bern
and Gaborone. His work is represented in Johannesburg and Durban’s CCMA Government Offices, Springs
Municipality, S.A. Chamber of Mines, University of Botswana, Reserve Bank of Botswana and the Margate
Art Museum.

izidroduarte@gmail.com Tel: 039 319 2725

African head, bronze 50 x 40 x 30 cms Scapegoat Mkambati, watercolour Elandman Therianthrope

86 x 86 cms Sculpure, Bronze
72 x 28 x 30 cms
Mussel Pickers, watercolour 80 x 57 cms Waiting for the city bus, watercolour 80 x 57 cms

Therianthropes, oil and corrugated board on canvas 100 x 200 cms

Silent Witness, watercolour 80 x 57 cms San dancers at Ghanzi, watercolour 150 x 100 cms
 DENISE FIELDING
Denise Fielding is resident at Bonza Bay in the Eastern Cape.
She is self taught through exposure to art publications, galleries
and exhibitions in Britain, France, Italy, Switzerland, Ireland
and South Africa. She has lived in London, Vancouver, Nassau
Bahamas and Durban before returning to her much loved
Eastern Cape where her family has been for generations.
Subsequently she spent time in Cape Town and later further
travel.
Most recently Denise stayed in Ireland for four years and again
began to paint. Her work was sold at a Gallery in County Sligo.
Early oils, water colours
and mixed media of
the 1980’s and 1990’s
sold in the Eastern
Cape through two Port
Elizabeth Galleries and photograph by Marlene Neumann
a Queenstown and East
London Art Exhibition. She
has small paintings in private collections in London.
Years spent studying the beauty of reflected light
inspires her to attempt to express this on canvas and
paper. Denise says that she tries to leave shape to find
its own space. She does not drive herself to paint but
enjoys the relaxed unfolding of self that happens in the
process.

Cell 079 031 6851 email: udebeza@telkomsa.net

Garden Chair

Waves after Storm, Bonza Bay Beach Mother and Child on Scarlet Sofa
Travel Sketch Vaucluse Shells Bonza Bay

Secretary Bird Travel Sketch, Marseille Old Harbour

Elsie, a Gqunukhwebe Woman, Hibiscus and Arum

Buffalo River
 ARIE THERON
he real West Coast
MARIE THERON
received her training
at Pretoria Normal
College, at UNISA and
with private tutors.
Her interest and
growth during
her career could
best be seen in
three phases:

THE WATERCOLOUR YEARS: Her first love was

watercolours and she spent most of the eighties
A Malmesbury house and nineties exhibiting and demonstrating the
medium, designing stationery and doing book
and botanical illustration. Lecturing at Bellville
Art Centre, Constantia and the Western Cape
countryside, hundreds of students benefitted from
her watercolour courses.
MIDDLE PERIOD: A hectic period filled with large
colourful acrylics and oil paintings followed. At a
2002 solo exhibition in Budapest her works were
snapped up by amongst others, the South African
and Canadian embassies. It was followed by
several local exhibitions and the 2004 sell-out solo
exhibition “The Timeless Charm of Croatia” which
opened in The Old Cape Town House, then moved

Anybody home?

Early morning in Piketberg After the rain

 Contact details:
E-mail: m.theron@wam.co.za • Tel : 022 492 3482
• http://artistmarietheron.blogspot.com/

to Sandton Art Gallery and The Croatian Embassy

in Pretoria. It also led to commissions from the
Croatian First Secretary for his new Embassy
post in Toronto. In 2005 The Association of Arts,
Pretoria, commissioned paintings from 20 artists
throughout Africa for a world touring exhibition
“The Challenge of the Cravat” with the emphasis
on Croatia as historical home of the tie. Marie’s
painting “Sister Power” for the exhibition which
showed at Eduardo Villa Gallery and Gordart
Gallery and also toured to Brussels, Prague and
Brazilia now hangs in the permanent collection of
Academia Cravatica in Zagreb.
THE REAL WEST COAST: A profound change
took place when Marie settled at the seaside Buoy, Oh Buoy!
on the lovely West Coast. She contends that so-
called “West Coast Art” is commonly associated
with stagnant little make-believe scenes of boats
and cottages and lacks in sincerity of the real
environment. It is Marie’s most passionate ambition
to put this perception right. She visits and paints
images throughout the West Coast region, then
post the paintings and records interesting historical
events of the West Coast on her very popular and
widely read blog, ARTIST MARIE THERON
CHRONICLES THE WEST COAST OF SOUTH
AFRICA. (http://artistmarietheron.blogspot.com/)
All the images used in this profile are from this blog.

Tweede Nuwejaar

Bokkoms at Velddrif Proteas

Ernst de Jong Academy of Fine Art
Professional Painting and Specialized Graphic Design
MISSION
Our quest is for aesthetic excellence.

“Art is Anything done essentially to Achieve Beauty”

Ernst de Jong 1960

“While Creative Visual Art may achieve and express many ideas and concepts, ideologies, symbols, rituals and
religions. Propaganda, advertisting, sensationalism, information and messages, decoration and a variety of other
human expressions and stories, it must achieve one goal:- BEAUTY. Once the propaganda has been forgotten,
such as with the Russian Poster, the only thing that remains is the Beauty – the Fine Art. The Egyptian Messages
are generally obscure but the Beauty, the Art remains.
Artists’ may say what they like and tell stories, but without aesthetic logic the message is short lived and no
Art remains.
Great Art is always beautiful. There are no ugly paintings in the great Art Museums of the world. Style and
fashion will only reflect the mood of the era briefly but inevitably there is no progress in Art. Art is eternal.”
Ernst de Jong 2010

Bijou Moynot, ‘Nuances Brunes’ 2009 Esther Booysen, ‘Gateway to Unknown’ 2010

Jan van Schalkwyk, ‘Shadows’ 2010 Carol van Tonder, ‘Rejuvenation’ 2010
 Rachel Wickwar, Odyssey Series ‘The Arrival’ 2010

AN ART LEGEND – Ernst de Jong

Ernst de Jong, ‘It’s a Marvellous night for a American Trained. BFA Oklahoma Univ. USA
Moon dance’ 2010 Lecturer: Pretoria Univ, Pretoria Tech. School
of New Vision NYC. Oslo Academy.
The Academy of Fine Art.
50 Solo shows and as many group exhibitions.
Retrospective Exhibition, Pretoria Art Museum
1998 Solo show Pretoria Art Museum 2000.
Collections worldwide. 30 Murals.
Painting for new shows in SA and USA

THE ACADEMY Painting and Design THE ACADEMY

INTERNATIONAL T he Academy strives to attain
an International Modern Art
and Design calibre in line with the
INTERNATIONA
foremost Art Institutions in America
such as the Chicago Art Institute,
Cooper Union and NYU as well as
the famous Manhattan Galleries.
We are already well known for the
outstanding results that our
ARTISTS OF THE ACADEMY
Studios achieve as well as the hundreds of Continuous
Since 1957 designers we have trained who are quarterly
today in top positions in South Africa enrolment throughou
and abroad. the year.
53 years of teaching We concentrate on Modern
modern art Art at its best and train talented Small classes.
beginners and advanced Painters. The
Professional Painter’s skills are honed
Application, interview
DIPLOMA COURSES and their work is widely viewed here
and internationally.
and fees

Tel: 012 430 4677 Fax: 012 430 6391 Cell: 082 951 4533
Email: edejong@lantic.net
Luxury studios at 366 Hill Street, Arcadia 0083 Pretoria
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Whether it be Albrecht Dürer watercolour pencils, Polychromos coloured pencils and pastels
or our famous PITT artist pens - All are manufactured using superior pigments of unsur-
passed light-fastness and brilliance. Fade resistant to daylight for up to 30 years or more.

Faber-Castell Art & Graphic range is available from leading

Art & Graphic retailers throughout Southern Africa.
For more product information visit www.faber-castell.com

DISTRIBUTED IN SOUTHERN AFRICA BY SLAVEPAK (PTY) LTD

Johannesburg: 011 473 9800 Cape Town: 021 592 1173 Durban: 031 569 1080 Namibia: 061 26 1061
Trade Enquiries: sales@bantex.co.za