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比利时油画家拉尔夫 · 阿兹特作品

汉斯 · 拉赫朗德

1965年2月出生在比利时库瑟尔

自学成才艺术家

人物与肖像作品

1968年

从赫克德斯塔特 (Herk-de-Stad)

搬迁到齐海姆(Zichem)

1975年第一幅油画

1976年第一幅油画肖像

1977年第一次办自己作品展

经常参观在安特卫普的鲁本斯纪念展

1988年 - 在齐海姆 (Zichem) 的工作室开始建设《老式荷兰铅白颜料》制作者，1992年 – 绘制了几幅局部画，为大型画作《人物、游戏和水果》做准备，1993年 – 在大型橡木板 (160x260cm)上完成《人物、游戏和水果》，使用化学法生产朱砂，也就是鲁本斯曾使用的红色颜料。

Hans Laagland born in Koersel (Belgium) in 1965, Hans Laagland was trained throughout his childhood by his father, the professional fine art painter Ludo Laagland.

At the age of ten, Hans completed his first oil painting and two years later his first solo exhibition was a fact.

1994年完成处理了个人使用后所剩下的陈旧颜料和油，4 月和 5 月：试着将这些颜料产品用于临摹《波瑞斯强劫俄瑞媂娅》6 月：安特卫普全国高等皇家学院《毕业年的重建项目》陪审团成员11月：新工作室向公众开放。

At fifteen, Hans developed a fascination with Rubens and set out to improve his artistic skills by studying and mastering Ruben’s works and techniques in the neighbouring city of Antwerp.

That was the beginning of Laagland’s emphasis on traditional craftsmanship, recreating historical materials like the lead white used by Rembrandt and the vermillion red of Rubens.

Today Hans continues to paint on wooden panels using the authentic oils and paints he, himself creates.

Emphasis on craftsmanship is also evident in his outspoken ideas on the artistic process. Hans believes that in order to create an ‘authentic’ work of art, the artist’s personal interpretation is crucial:

hence, no photography or two-dimensional items should be utilised, only the artist’s immediate and individual take on reality.

A solid base drawing is indispensable and the art of drawing should be mastered properly first, for it is both the point of departure and the foundation the artwork rests upon.

1995年比利时波斯托 Norbertine修道院的第一幅典礼画像由林堡省组办的回顾画展 (1975-1995)展出50 幅作品

1996年在阿姆斯特丹参加第一次国际画展，同时参展的有瑞典的 U. 拉尔森 (U. Larsson)与荷兰

静物作品

Emphasis on craftsmanship is also evident in his outspoken ideas on the artistic process. Hans believes that in order to create an ‘authentic’ work of art, the artist’s personal interpretation is crucial:

hence, no photography or two-dimensional items should be utilised, only the artist’s immediate and individual take on reality.

A solid base drawing is indispensable and the art of drawing should be mastered properly first, for it is both the point of departure and the foundation the artwork rests upon.

风景作品

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