Carel Willink

Tilburg, Paleis Raadhuis, July - September 1955
Amsterdam, Stedelijk Museum, November - December 1956
Amsterdam, Kunsthandel Van Wisselingh, April - May 1977
Zeist, Slot Zeist, Willink Natuurlijk, Carel Willink's kijk op de natuur, October - November 1988, pp. 48,49, illustrated in colour 
Arnhem, Museum voor Moderne Kunst, Overzichtstentoonstelling, November 1996 - June 1997
Rotterdam, Museum Boymans-van Beuningen, Carel Willink, zelfportretten en stadsgezichten, March - June 2000

H. Jaffé, Willink, Amsterdam, 2000, pp. 145, 257, no. 245, illustrated in colour
T. van Turnhout, Willink Natuurlijk, Carel Willink's kijk op de natuur, Zeist 1988, pp. 48,49, illustrated in colour

Right top slightly buckling of canvas. Right top corner varnish strokes irregular, only visible under ultra-violet light. Very minor retouches along the lower edge. Written note at the back of the painting: "Cleaned and varnished and retouched by A.C. Willink Januari 1977".Otherwise in very good condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Carel Willink belongs to one of the great painters of the magic realistic movement (the Dutch version of Surrealism). In 1920 he went to Berlin where Hans Baluschek taught him the art of painting. After being influenced by the cubist and constructivist movement Willink moves in 1930 to a realistic form. He longed to make paintings that were technically so finished that they could survive for quite some time. In the coming years Willink stayed faithful to this style and made his painting technique even more perfect.

In the 1940's a new theme enters Willink's work, that of landscape with and without animals. The concept of alienation is visible in these landscapes which is evoked by his use of colour and the threatening atmosphere which we especially see in the skies. From 1952 onwards animals appear more regularly in his paintings (please see lot 68) which enhances the estrangement. As he says:

'De dieren op zich zeggen niets, maar zet ze op een trap, of bij een gebouw, dan is én de trap of het gebouw anders, én het dier'.

'The animals alone don't say much, but put them on a staircase, or next to a building and the staircase or the building will be different, ánd the animal'

(Source: H. Jaffé, 2000, p. 140)