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.

109. Helen Martina
110. Chris Soer
111. Ada Stel
112. F.A. Mooy
113. Nico van Rijn
114. Jack Jefferys
115. Laetitia de Haas
116. Willem van den Berg
117. Aris Knikker
118. Herman Bieling
119. János Bittenbinder
120. Cornelis Vreedenburgh

'Farm in Drenthe', 1926,
Crayon on paper, 42 x 47 cm,
Signed: lower left 'a.w.kort 26'
Arnold Willem Kort (1881-1972)

In the time that members of the Groningen painters' circle De Ploeg with many expansive, colourful tumult let themselves heard, Arnold Willem Kort calmly follows his own path. Art historians divide three periods in his development.

The first period includes drawings, pastels and watercolours made in the botanical gardens in Haren. "The slight veil, which hangs over many of these works, seems to hide like a morning mist what the whole day will bring. A small pond is dreaming in the thin willow green (...) ", so G. H. Streurman in A. W. Kort, an interesting painter (Elsevier 1938).

In the second period the painter abandons the intimacy of the Hortus and focusses at the "rugged, weather-beaten farms and barns in the extensive, deeply coloured Drenthe country (...). The intensity with which these great paintings and drawings have arisen, often in a mix of chalk, pastel and watercolour, reminiscent of a rather late Sturm und Drang, but behind this seemingly chance gray sweeps with mysterious dark and warm glowing colour spots (...) lies a soothing, rhythmic, pure balance." In this disclosure we recognize our 'Farm in Drenthe' from 1926.

In the third period his delicate pencil drawings of plants and flowers come back. "It's all so decent, so quiet and so easy, so devoid of all illusion and extremities, that I only know one word (...) devotion."

Educated at the Craft and Art school in Haarlem Kort gets in 1901 a job at the furniture factory of J. H. Huizinga in Groningen. At night he studies at the Academy Minerva and from 1908 to 1946 he is there lecturer decorative drawing, batik, lithography, wood carving and glass painting. Kort collects oriental items, early Chinese ceramics, Japanese prints and he paints and draws a lot. He makes inter alia paintings of the stations of Hengelo (O), Roosendaal and Baarle-Nassau. After his retirement he leads a secluded life. His aversion to publicity is reflected in the tendency to destroy his own work over time. An exhibition on the fascinating evolution in the work of this virtually unnoticed artist comes only after his death.