Kunstaankopen, kunstbehoud, monografieën, exposities
Frans & Kapma Foundation


There is so much marvellous art in this world. Art that wanders through
thoughts and the stories behind the thoughts. Here is a first impression
of art that fascinates us.

Discover the artists represented in the FRANS & KAPMA COLLECTION.

01. Thijs Buit
02. Machiel Hopman
03. Geert Meijer
04. Helen Sieger
05. Hans van Herwijnen
06. Gradus Verhaaf
07. Ida Roekevisch
08. Johannes Meintjes
09. Jan Rozeboom
10. Jacques Krebbekx
11. Alfons Vermeir
12. Willem Paerels

'The roadstead of Antwerp', 1937,
Oil on canvas, 105 x 110 cm,
Signed: lower right '37 a.vermeir'
Alfons Vermeir (1905-1994)

No doubt about it: from afar we recognize the paintings of the Belgian artist Alfons Vermeir by their distinctive style. They are somewhat naive, showing with firm strokes village, city and harbour views, mostly decorated with some persons and not rarely a dog. He also paints interiors with coffee or tea drinking people (always with a white coffee or teapot on the table) and a huge variety of scenes from peasant life: sowing, mowing, harvesting, weeding, taking a break on the land, he has it all laid down on canvas or panel. For years Vermeir, who is counted among the late Expressionists, roams through his beloved Scheldeland, that has become his main source of inspiration.

Already at a young age Alfons Vermeir has been stimulated by the village teacher (himself an artist) and his parents to develop his unmistakable talent for painting. He follows in the 30s of the last century training at two Antwerp Academies and received the best student award. Over the years his academic approach is evolving, as we read in two major monographs, to a more spontaneous expression of the later so typical stiff naive reality. During his life Vermeir acquires not only in Belgium fame, also in the Netherlands his work is appreciated and has been exhibited in topmost galleries.

'The roadstead of Antwerp' is a pretty big artwork made in 1937. It is one of his great Schelde and harbor views, which he painted in his studio in the Maritime Academy. From there, he observes the daily activity on the water and the quays and in the distance the outlines of the city of Antwerp. This early work of Vermeir still impress us every day! We philosophize about the drab, dreary rainy sky, which might symbolize the dark times of war, which already felt approaching. The painting also continues to fascinate because there is much to see and although the drawing still dominates, it already has some features of his later muscular, artless, poetic oil paintings, which are also very rewarding.