Three portraits in a red car
![Three portraits in a red car]()
![Three portraits in a red car]()
![Three portraits in a red car]()
![Three portraits in a red car]()
![Three portraits in a red car]()
![Three portraits in a red car]()
![Three portraits in a red car]()
![Three portraits in a red car]()
![Three portraits in a red car]()
![Three portraits in a red car]()
Hubert, in the middle, I made up as little as possible, the other two: the lady and the man with the cap I discovered while reading.
Pretty soon I had an idea of these two faces.
Before making my painting, I noticed that painting the portrait of the lady proceeded just like painting the other portrait: the man with the cap, who is an apparition.
In this case, painting a ghost is just like painting a human. That in itself is funny.
He is an intermediary of a non-visible, but possibly influential world, which sometimes emerges: an appearance that can travel within the spaces of matter as if it were nothing.
Is it only our thoughts and wishes that create such an appearance, or does the shape really come into view, because it wants to or it is?
That is one of the qualities of a story by Lampo, that he interweaves the influence of a possible other world in his story in a special way. Whether this magical realism also resonates in my painting, I leave to the viewer. I have been painting diligently and paying as much attention as possible to the elements that make up the story, to make the best use of it.
The I figure, the narrator, our Hubert, Bergmans, drives a different route than usual to his lecture in Middelburg.
Fog is rising.
The background of the painting has become a vague air-vapor improvisation with a tip of a mooring on the left and vague buildings above it. The patches also show a green color of vegetation, which I think is part of fog, that there are more visible parts in between. In this case from a shrub or bush.
In Walsoorden, Bergmans has to wait for the ferry across the Schelde. The fog thickens. Next to him a red car stops with a beautiful lady who looks at him and apparently says something.
Hubert gets out and asks her what's going on.
It turns out that she is bothered by a man in a black suit who keeps appearing in front of her. She's confused about it.
I use the red car in my painting as a demarcated space to paint the portraits of the three people together.
The lady, Bergmans and the ever-appearing man whose face somewhat resembles a mask.
I let this man with the cap float next to the rear window of the red car. I think that suits him. He cannot really trip or fall. If he were sucked into a running jet engine of an airplane, his tie, jacket, and cap would still remain neatly in place. He would probably take a Lampo book out of his pocket and start reading.
His tie, wrapped around the edge of the rear window, is the only thing that ties him to the car.
I have changed his cap to a somewhat less sleek model than just the black municipal cap from the story. On the spot of an expected logo in the center above the peak of this cap I painted a lamp, illuminating the face of the heavily pipe-smoking Lamp-o: “table lampo light”.
The man's club tie has a coat of arms of a lamp and a pot. The nice positive explanation is: “Look, the lamp in the pot is on. Energy directly from feces! ”
The exasperated lady looks at us: "Why is this happening to me?" The apparition is very unpleasant for her.
While she was sunbathing on the beach in “Oostende”, the man in his suit sat down in a beach chair in front of her.
The lady in her bikini and the man in a suit.
In response to this unequal variant of Lampo, I gave the lady a wide-mesh wire collar, from which one could deduce that her entire clothing would consist only of this wide-meshed structure.
In a correct distribution, in reality, certified heating elements will have been added, in order to be able to place such a “techno-fashion expression” on the market, so that it offers sufficient protection in different weather types.
This way, I tried to add a “Lampo effect” while painting.
Furthermore, the lady is safely behind the front door of her car, but with two of "those men" in the back seat.
Bergmans wants, when the line of waiting cars starts moving, to meet with her on the other side to talk further.
His car doesn't start and she drives onto the ferry.
Then the man in his black suit and cap stands next to his car. Hubert opens the window and the man says: "You cannot go to the other side, sir." Bergmans shudders at the sight of the man. He has to wait for the next ferry.
He will not see the lady again. The man he did, in Middelburg, made tea for him. Mr. Bergmans is shocked when he sees that it is the same man who approached him at the ferry.
Why is that vague man nice to Mr. Bergmans with a cup of tea and why has he made life so miserable for the lady?
Hubert, in the middle, I made up as little as possible, the other two: the lady and the man with the cap I discovered while reading.
Pretty soon I had an idea of these two faces.
Before making my painting, I noticed that painting the portrait of the lady proceeded just like painting the other portrait: the man with the cap, who is an apparition.
In this case, painting a ghost is just like painting a human. That in itself is funny.
He is an intermediary of a non-visible, but possibly influential world, which sometimes emerges: an appearance that can travel within the spaces of matter as if it were nothing.
Is it only our thoughts and wishes that create such an appearance, or does the shape really come into view, because it wants to or it is?
That is one of the qualities of a story by Lampo, that he interweaves the influence of a possible other world in his story in a special way. Whether this magical realism also resonates in my painting, I leave to the viewer. I have been painting diligently and paying as much attention as possible to the elements that make up the story, to make the best use of it.
The I figure, the narrator, our Hubert, Bergmans, drives a different route than usual to his lecture in Middelburg.
Fog is rising.
The background of the painting has become a vague air-vapor improvisation with a tip of a mooring on the left and vague buildings above it. The patches also show a green color of vegetation, which I think is part of fog, that there are more visible parts in between. In this case from a shrub or bush.
In Walsoorden, Bergmans has to wait for the ferry across the Schelde. The fog thickens. Next to him a red car stops with a beautiful lady who looks at him and apparently says something.
Hubert gets out and asks her what's going on.
It turns out that she is bothered by a man in a black suit who keeps appearing in front of her. She's confused about it.
I use the red car in my painting as a demarcated space to paint the portraits of the three people together.
The lady, Bergmans and the ever-appearing man whose face somewhat resembles a mask.
I let this man with the cap float next to the rear window of the red car. I think that suits him. He cannot really trip or fall. If he were sucked into a running jet engine of an airplane, his tie, jacket, and cap would still remain neatly in place. He would probably take a Lampo book out of his pocket and start reading.
His tie, wrapped around the edge of the rear window, is the only thing that ties him to the car.
I have changed his cap to a somewhat less sleek model than just the black municipal cap from the story. On the spot of an expected logo in the center above the peak of this cap I painted a lamp, illuminating the face of the heavily pipe-smoking Lamp-o: “table lampo light”.
The man's club tie has a coat of arms of a lamp and a pot. The nice positive explanation is: “Look, the lamp in the pot is on. Energy directly from feces! ”
The exasperated lady looks at us: "Why is this happening to me?" The apparition is very unpleasant for her.
While she was sunbathing on the beach in “Oostende”, the man in his suit sat down in a beach chair in front of her.
The lady in her bikini and the man in a suit.
In response to this unequal variant of Lampo, I gave the lady a wide-mesh wire collar, from which one could deduce that her entire clothing would consist only of this wide-meshed structure.
In a correct distribution, in reality, certified heating elements will have been added, in order to be able to place such a “techno-fashion expression” on the market, so that it offers sufficient protection in different weather types.
This way, I tried to add a “Lampo effect” while painting.
Furthermore, the lady is safely behind the front door of her car, but with two of "those men" in the back seat.
Bergmans wants, when the line of waiting cars starts moving, to meet with her on the other side to talk further.
His car doesn't start and she drives onto the ferry.
Then the man in his black suit and cap stands next to his car. Hubert opens the window and the man says: "You cannot go to the other side, sir." Bergmans shudders at the sight of the man. He has to wait for the next ferry.
He will not see the lady again. The man he did, in Middelburg, made tea for him. Mr. Bergmans is shocked when he sees that it is the same man who approached him at the ferry.
Why is that vague man nice to Mr. Bergmans with a cup of tea and why has he made life so miserable for the lady?
Three portraits in a red car
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Painting for the 100th year of birth of Hubert Lampo. This topic is based on Lampo's short story: “Delay in Walsoorden”.
- Size: 50 x 70 x 2,3 cm (19.7"x 27.6" x 0.9") HxWxD
- Painting: Acryl on canvas
- Original, unframed
- Signed
- Finished July 2020
Background story
The story features three people: the narrator, Hubert Lampo in the role of Mr. Bergmans, a lady, a history student, and an apparition, an ever-emerging man in a black suit, who does not seem to exist.
I could make portraits of all three.Hubert, in the middle, I made up as little as possible, the other two: the lady and the man with the cap I discovered while reading.
Pretty soon I had an idea of these two faces.
Before making my painting, I noticed that painting the portrait of the lady proceeded just like painting the other portrait: the man with the cap, who is an apparition.
In this case, painting a ghost is just like painting a human. That in itself is funny.
He is an intermediary of a non-visible, but possibly influential world, which sometimes emerges: an appearance that can travel within the spaces of matter as if it were nothing.
Is it only our thoughts and wishes that create such an appearance, or does the shape really come into view, because it wants to or it is?
That is one of the qualities of a story by Lampo, that he interweaves the influence of a possible other world in his story in a special way. Whether this magical realism also resonates in my painting, I leave to the viewer. I have been painting diligently and paying as much attention as possible to the elements that make up the story, to make the best use of it.
The I figure, the narrator, our Hubert, Bergmans, drives a different route than usual to his lecture in Middelburg.
Fog is rising.
The background of the painting has become a vague air-vapor improvisation with a tip of a mooring on the left and vague buildings above it. The patches also show a green color of vegetation, which I think is part of fog, that there are more visible parts in between. In this case from a shrub or bush.
In Walsoorden, Bergmans has to wait for the ferry across the Schelde. The fog thickens. Next to him a red car stops with a beautiful lady who looks at him and apparently says something.
Hubert gets out and asks her what's going on.
It turns out that she is bothered by a man in a black suit who keeps appearing in front of her. She's confused about it.
I use the red car in my painting as a demarcated space to paint the portraits of the three people together.
The lady, Bergmans and the ever-appearing man whose face somewhat resembles a mask.
I let this man with the cap float next to the rear window of the red car. I think that suits him. He cannot really trip or fall. If he were sucked into a running jet engine of an airplane, his tie, jacket, and cap would still remain neatly in place. He would probably take a Lampo book out of his pocket and start reading.
His tie, wrapped around the edge of the rear window, is the only thing that ties him to the car.
I have changed his cap to a somewhat less sleek model than just the black municipal cap from the story. On the spot of an expected logo in the center above the peak of this cap I painted a lamp, illuminating the face of the heavily pipe-smoking Lamp-o: “table lampo light”.
The man's club tie has a coat of arms of a lamp and a pot. The nice positive explanation is: “Look, the lamp in the pot is on. Energy directly from feces! ”
The exasperated lady looks at us: "Why is this happening to me?" The apparition is very unpleasant for her.
While she was sunbathing on the beach in “Oostende”, the man in his suit sat down in a beach chair in front of her.
The lady in her bikini and the man in a suit.
In response to this unequal variant of Lampo, I gave the lady a wide-mesh wire collar, from which one could deduce that her entire clothing would consist only of this wide-meshed structure.
In a correct distribution, in reality, certified heating elements will have been added, in order to be able to place such a “techno-fashion expression” on the market, so that it offers sufficient protection in different weather types.
This way, I tried to add a “Lampo effect” while painting.
Furthermore, the lady is safely behind the front door of her car, but with two of "those men" in the back seat.
Bergmans wants, when the line of waiting cars starts moving, to meet with her on the other side to talk further.
His car doesn't start and she drives onto the ferry.
Then the man in his black suit and cap stands next to his car. Hubert opens the window and the man says: "You cannot go to the other side, sir." Bergmans shudders at the sight of the man. He has to wait for the next ferry.
He will not see the lady again. The man he did, in Middelburg, made tea for him. Mr. Bergmans is shocked when he sees that it is the same man who approached him at the ferry.
Why is that vague man nice to Mr. Bergmans with a cup of tea and why has he made life so miserable for the lady?
Painting for the 100th year of birth of Hubert Lampo. This topic is based on Lampo's short story: “Delay in Walsoorden”.
- Size: 50 x 70 x 2,3 cm (19.7"x 27.6" x 0.9") HxWxD
- Painting: Acryl on canvas
- Original, unframed
- Signed
- Finished July 2020
Background story
The story features three people: the narrator, Hubert Lampo in the role of Mr. Bergmans, a lady, a history student, and an apparition, an ever-emerging man in a black suit, who does not seem to exist.
I could make portraits of all three.Hubert, in the middle, I made up as little as possible, the other two: the lady and the man with the cap I discovered while reading.
Pretty soon I had an idea of these two faces.
Before making my painting, I noticed that painting the portrait of the lady proceeded just like painting the other portrait: the man with the cap, who is an apparition.
In this case, painting a ghost is just like painting a human. That in itself is funny.
He is an intermediary of a non-visible, but possibly influential world, which sometimes emerges: an appearance that can travel within the spaces of matter as if it were nothing.
Is it only our thoughts and wishes that create such an appearance, or does the shape really come into view, because it wants to or it is?
That is one of the qualities of a story by Lampo, that he interweaves the influence of a possible other world in his story in a special way. Whether this magical realism also resonates in my painting, I leave to the viewer. I have been painting diligently and paying as much attention as possible to the elements that make up the story, to make the best use of it.
The I figure, the narrator, our Hubert, Bergmans, drives a different route than usual to his lecture in Middelburg.
Fog is rising.
The background of the painting has become a vague air-vapor improvisation with a tip of a mooring on the left and vague buildings above it. The patches also show a green color of vegetation, which I think is part of fog, that there are more visible parts in between. In this case from a shrub or bush.
In Walsoorden, Bergmans has to wait for the ferry across the Schelde. The fog thickens. Next to him a red car stops with a beautiful lady who looks at him and apparently says something.
Hubert gets out and asks her what's going on.
It turns out that she is bothered by a man in a black suit who keeps appearing in front of her. She's confused about it.
I use the red car in my painting as a demarcated space to paint the portraits of the three people together.
The lady, Bergmans and the ever-appearing man whose face somewhat resembles a mask.
I let this man with the cap float next to the rear window of the red car. I think that suits him. He cannot really trip or fall. If he were sucked into a running jet engine of an airplane, his tie, jacket, and cap would still remain neatly in place. He would probably take a Lampo book out of his pocket and start reading.
His tie, wrapped around the edge of the rear window, is the only thing that ties him to the car.
I have changed his cap to a somewhat less sleek model than just the black municipal cap from the story. On the spot of an expected logo in the center above the peak of this cap I painted a lamp, illuminating the face of the heavily pipe-smoking Lamp-o: “table lampo light”.
The man's club tie has a coat of arms of a lamp and a pot. The nice positive explanation is: “Look, the lamp in the pot is on. Energy directly from feces! ”
The exasperated lady looks at us: "Why is this happening to me?" The apparition is very unpleasant for her.
While she was sunbathing on the beach in “Oostende”, the man in his suit sat down in a beach chair in front of her.
The lady in her bikini and the man in a suit.
In response to this unequal variant of Lampo, I gave the lady a wide-mesh wire collar, from which one could deduce that her entire clothing would consist only of this wide-meshed structure.
In a correct distribution, in reality, certified heating elements will have been added, in order to be able to place such a “techno-fashion expression” on the market, so that it offers sufficient protection in different weather types.
This way, I tried to add a “Lampo effect” while painting.
Furthermore, the lady is safely behind the front door of her car, but with two of "those men" in the back seat.
Bergmans wants, when the line of waiting cars starts moving, to meet with her on the other side to talk further.
His car doesn't start and she drives onto the ferry.
Then the man in his black suit and cap stands next to his car. Hubert opens the window and the man says: "You cannot go to the other side, sir." Bergmans shudders at the sight of the man. He has to wait for the next ferry.
He will not see the lady again. The man he did, in Middelburg, made tea for him. Mr. Bergmans is shocked when he sees that it is the same man who approached him at the ferry.
Why is that vague man nice to Mr. Bergmans with a cup of tea and why has he made life so miserable for the lady?
