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At the center of the composition stands a delicately crafted glass vase, its transparent surface allowing a glimpse of the intricate details within. Light plays a crucial role in the painting, as a subtle glimmer softly illuminates the smooth contours of the vase, adding a touch of ethereal radiance to the overall scene.
Within the transparent vessel, two blossoms take center stage, each meticulously rendered with a remarkable attention to detail. Whether they are yellow and white roses or peonies, their petals unfurl in graceful arcs, showcasing the artist's adeptness at capturing the delicate intricacies of their forms. The subtle interplay of light and shadow further accentuates the natural curvature and soft textures of the flowers, evoking a sense of intimacy and reverence for the fleeting beauty of life.
Signed Georg Rueter upper right
Oil on canvas
Image size 36,5*35,5 cm
Framed 45 x 43 cm
Rueter (Haarlem 1875 - Amsterdam 1966) designed many posters, calendars, ex-libris (including woodcuts) and book binding designer. His first steps in drawing were under the watchful eye of Johan Braakensiek; son of a publisher. He was educated at the Municipal Evening Drawing School in Amsterdam, the National Normal School for Drawing Education, and the National Academy of Fine Arts. He worked for various publishers and was, among other things, responsible for the design of the binding and endpapers of the renowned book series 'Nederlandsche Historische Bibliotheek', which was published by Meulenhoff.
In addition, Rueter immortalized many professors from the University of Amsterdam, among others. His versatility made him a true craftsman who 'just' wanted to decorate. Portraits and designs for books paid the bills, in flower still lifes he could paint more freely. He belongs in the overview of Dutch painting in the 20th century because he painted from the heart and almost resisted the business-like coldness of his contemporaries.
He was friends with Hendrik Jan Wolter, Marie van Regteren Altena, Marius Bauer, Jan Sluijters and Coba Ritsema, among others. He was also socially active until late in life and a member of Arti et Amicitiae, where he worked with K.P.C. de Bazel and Van Roggen became friends and became fascinated by architecture. You can also see that in the language of some of his works.
His studio, called De Gulden Snede, was located at the Haarlemmerplein 42 corner Planciusstraat in Amsterdam, above the printing works of the Brothers Braakensiek, of which his father Christiaan Rueter had become director and co-owner in 1882. Rueter worked from 1898 together with artist Gerarda de Lang. They married in 1901 and were the parents of artists Pam Rueter, Gerarda Rueter and Maria Hofker-Rueter (married to painter Wim Hofker). Especially in the years after the war, Rueter gained great fame as a painter of flower still lifes, where he eventually earned his living. He loved his own garden and every day he marveled at what nature had to offer. In addition to his many artistic pursuits, he liked to collect art and antiques and restore the chairs and tables that he bought himself. The almost square gem as we offer here is civilized, soft, modest, lovely, cheerful and beautiful because of its colour scheme and its details. Rueter regularly painted open roses. One of his favorite flowers.
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