Frans Bleiji, born, 6-11-1950 in Leiden.
He made his first steps in art in 1984 at the Volksuniversity in Vlaardingen, his teacher noticed the progress he made in a short time and gave him the advice to start a education at the Academy. So he did in 1986 at the Royal Academy of Art in The Hague. In the second year he finished it because the lessons became to abstract and such won’t fit at his way of working, so he was going his own way and became a self-thaught artist.
A note about his work (trompe-l’oeil).
Have objects been stuck on or pinned to the canvas.
It certainly seems like it; you bend over and involuntary want to feel with your fingers whether the push pin has or has not actually been inserted into the canvas.
One of many notables reactions to Frans Bleiji’s work, referring to the use of trompe-l’oeil. While using the techniques of chiaroscuro and especially trompe-l’oeil, Frans succeeds in breathtakingly capturing the essence of the subject and the underlyig thoughts. But he is not a artist who likes to tie himself down to one particular way of working although his approach should always contain a aspect of realism.
Whatever course he chooses to pursue, realism will always be part of the new route.
For example, his recent work is a fusion of “work after Mondriaan” and realism in a series of work he would like to call “hand in hand”.
And no matter what he produces, the same things always seems to come together in his work because of the fact- and this is certainly worth mentioning here- that Frans is always searching for the third dimension on the flat surface, which why he was given the nickname “the shadow artist” in a newspaper article.
Frans is a self-thaught artist who, after studying at the Royal Academy of Art for more than a year, decided to teach himself everything he needed to know as he felt that the route followed at the academy was not his.
Work in private possession in; Netherland, Belgium, France, England, America, Ireland, Curacao and Switzerland.
A short statement about my work which maybe need a explanation, trompe l’oeil.
The art of trompe-l’oeil has been practised since the time of the ancient Greeks, but few people are aware of its exstense or have ever seen a example of it. It has not been produced in great quantity, unlike subject painting, landscape and still life, though it often resembles the latter and shares with it a certain feeling of intimacy. Trompe-l’oeil does not tell a story. It is unemotional as it is clever. The trompe-l’oeil artist aims to create a illusion convincing enough to deceive the eye of the beholder by making a flat surface appear three-dimensional when the painting is finished. Thus, in a sense, his technical skill is meant to go undected, which is not the usual case where works of art are connected. The genre is essentially decorative and ambigious and, purely practised, involves following principles: an intent to decive, perfect perspective in rendering the subject in order to achieve three-dimensional illusion, the exclusion of stylistic interference, and a surface treated as a whole entity. The trompe-l’oeil artist will not leave anything to the imagination. He will not allow interpretation beyond what he represents. Whenever he does, though incorporating elements of trompe-l’oeil in his composition and retaining his impeccable technique, he is then using it to emphasize his work’s decorative aspect at the expense of pure trompe-l’oeil.
That’s why I am very fond of the trompe-l’oeil, it is fantastic to see, over and over again, how the beholder is putting on the wrong leg, also the reactions, who are in fact infinite, are fantastic and make it worth to continue this work with great pleasure.