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

'Crucifixion in Vietnam', 1964
Gouache, 67 x 98 cm
Signed: lower middle 'jan sierhuis 64'
Jan Sierhuis (1928)

Surprise! On the Realists Exhibition in the Passenger Terminal in Amsterdam (2008), we almost bump against Jan Sierhuis. Great, because we want to meet artists of whom we possess some works and hear from them why they paint as they do. Immediately we get caught up in an interesting conversation. He asks (with his juicy, Amsterdam accent), whether we have works made by him, and if so which.

In addition to an oilpainting 'Mother with children playing' we mention the gouache 'Crucifixion in Vietnam’ from 1964. He remembers this work, in which strong emotions about the Vietnam War are visible, still well. He has stated the title on the back and also wrote that the work should not hang in the sun because of the crayons he used. Sentimental, his concern for the painting. . .
He wants to know how we got it. Well, it comes from the corporate collection of publisher VNU, which in 2005 was divested.

While we are talking to him, he constantly sees friends come over. Occasionally he shakes hands and gets a pat on his shoulder. Spontaneously people compliment him on his latest work. Jan Sierhuis enjoys the appreciation and lets himself willingly photographed.

About Jan Sierhuis, purebred Amsterdammer, several monographs are published. Already as a small boy he draws remarkably well. At 19, he is admitted to the Royal Academy, which he left after a conflict, but continues the education when a new director is appointed. Much later, in 1984, he himself becomes a teacher at the Academy. Sierhuis is heavily involved in politics and society and gradually develops its own turbulent style.

Although he becomes friends with members of the Cobra group, he does not associate himself with this art movement. In the early sixties he breaks through. Galleries at home and abroad are exhibiting his work, and museums buy it, but despite his fame, Jan Sierhuis remains himself and paints till today his own reality.