Perceived as outdated, traditionalism seems to be a lost art form within the 21st century. Or at least, one that is dismissed as unpopular within the current post-modern contemporary movement. I’d like to ask, what would a revival thereof look like in this current socio political landscape? What do young, traditionally trained artists seek to say?
Sandro Botticelli, Primavera (circa 1482), 202 x 314 cm. Courtesy of the Uffizi Gallery, Florence.
Historically, traditionalism within the arts was a movement whereby a high level of skills and knowledge was passed down from old masters to their apprentices through rigorous training. This manner of training encompassed studying a broad spectrum of art forms such as drawing, painting and sculpture. Once an understanding of the basics was established the apprentice would then focus towards one medium to master, and spend years perfecting it. The traditionally trained artist was perceived as nothing short of genius, creating works which were highly technical and awe inspiring. I believe their ability to create transcendent works which surpass the boundaries of time, culture and class is their biggest contribution to the movement. A great deal of respect is owed to these old masters as it was no strike of luck they became regarded as genius, it was through years of dedication and admiration to their craft. It seems rare to witness this same discipline in artists today. It is apparent that the approach to formal art training has shifted from practical emphasis to conceptual. It seems that the why has become more important than the how. However, instead of operating as two mutually exclusive paradigms, I believe the intersection of these two is where greatness lies.
If we look to the past for examples, immediately I think of artists such as Michelangelo and Botticelli. The ability to render a block of marble into a figure which has soft, subtle curves and skin folds is no simple task. Creating lightness and movement out of a medium which at its core, molecular structure is known for its weight and density is a direct contradiction of the material and yet, ‘David’ (1501-1504) stands tall with all of the stoic, human likeness. Botticelli’s ‘Primavera’ (1482), transports the viewer into a landscape which conveys themes of love, sensuality, fertility and marriage. But perhaps the most striking aspect of the work is the delicacy and intricacy depicted by the artist. The figures are portrayed with grace, accuracy, and attention to detail. Formal elements such as colour, composition and light all speak to a pictorial harmony. Leaving the viewer feeling satisfied and at ease.
Arguably, this artwork can be described as near perfect - with even the most sceptical spectator being left impressed by the sheer scale and skillset of the artist.
Traditionalism, as impressive as it may be, slowly took a back seat during the 19th century. A shift in the arts occurred, artists started to explore varying movements such as modernism and abstraction. I’d like to discuss what a return to traditionalism in the new age may entail. An afore loved subject matter during the renaissance (14th - 17th century) and peak of traditionalism were biblical scenes. I agree that yes, the subject matter is perhaps outdated in todays day and age and so, this leaves an opportunity for a new subject matter to emerge. One which entails a combination of the contemporary and the traditional. An artist that achieves exactly this, is Bob Jonkers.
Bob Jonkers, To Be Awake at Dreaming's End, Oil paint on canvas, 95 x 55 cm.
Amsterdam based painter Bob Jonkers, is seeking to disrupt the art scene by dissecting the traditional still life into an allegory of human sentiment. By creating carefully composed spectacles, Jonkers seeks to focus on the minuteness of objects, the quietness of solitude, and the beauty of creation. Therefore, creating a shift from our perceived reality to a new realm which focuses on meaning making and human experience. The artist received formal training at the Swedish Academy of Realist Art. He then returned to Amsterdam where he has been living and working ever since. Most recently, he has exhibited at Art Athina 2023 and Galerie Bonnard. Jonkers is known for his bright, contrasting colour use in combination with his classical portrayal of still lifes, landscapes and self portraits.
The artist writes, “My paintings interpret human’s absurd relationship with their existence, and their eagerness of finding meaning in a world that has rejected its immortality. Certain of its limits, my work does not demonstrate ideas but rather leaves its meaning floating, inviting the viewer to plunge into life with every excess. The variety of self portraits, still lifes and landscapes is most important for the suspension of this meaning, for I would not limit myself to express the world through a single subject.” Jonkers depicts his subject matter with the utmost care and understanding. Able to capture a fleeting moment of beauty through the simple act of looking, his colour choice, mark making, and layering leave the viewer feeling mesmerised.
Jonkers portfolio ranges from picturesque landscapes and vibrant still lifes to eerie self portraits. It is through this variety whereby I believe he successfully achieves the intersection of the above mentioned paradigm between practise and concept, highlighting a spectrum of human emotions. During a recent studio visit with the artist we spoke of new work, upcoming projects, and the life of an artist. On his desk, amongst tubes of paint and colour swatches lay a copy of bell hooks’, “All About Love”. This struck me as it reminded me of the old masters notion that art pierces through all aspects of everyday life. A love for ones craft is a necessity, not a luxury.
I believe this sentiment is boldly portrayed in his piece “To Be Awake At Dreamings End” (2023). This captivating artwork serves as an ode to the timeless allure of nature's bounty. Exquisitely rendered with meticulous attention to detail, the bouquet of blooms bursts from the vase, their petals and leaves captured in vivid realism. The radiant pink hues foreground the blossoms in harmony with the soft interplay of light and shadow, creating a stunning visual contrast. Each delicate petal invites one to reach out and touch their velvet like texture. This artwork not only celebrates the ephemeral beauty of flowers but also exemplifies the artistry of realism, reminding us of the simple yet profound wonders that nature offers us.
By combining his traditional training with his own worldview, Jonkers creates a beautiful homage to the old masters and paves way for a new and exciting revival of traditionalism.
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