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of the mighty and the rich, had been a fashion that had served its purpose society. Rien’s paintings treat a fundamental aspect in society where human
and should now be avoided. Rien’s delicate nature would not permit him coherence is at stake. In 1978, when he created a completely new way of
to paint with rough strokes: his subjects stand out precisely. In detailed expression, walked a few steps ahead of the vogue. From that moment on,
compositions he expresses his private feelings and views that are inspired his illustrated observations, which were based on objective social criti-
by what society in all its various manifestations offers him. Here he is in cism, have become exceptionally intriguing, sometimes even ambiguous.
tune with Benedictus XvI’s desire, that art should play a binding part in See ‘shooting smokers’. By experimenting with all kinds of different sizes
JETLAg, 1979 gOUACHE 28X20 IN. /71X51 CM. (FOR MUSICIANS) ToWER, 1987 gOUACHE 28X20 IN. /71X51 CM. (LONELINESS)
TWINkLINg AN EyE, 1985 gOUACHE 21X13 IN. /54X34 CM. (OgENBLIkJE)
EURopE, 1988 gOUACHE 25.5X25.5 IN. /65X65 CM. (ONLY LARgE STATES REACH THE kEY)
sAINTs of ToDAy, 1982 gOUACHE 20X28.5 IN. /51X73 CM. (THE 6 MODERN SINS)
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