{"id":933,"date":"2026-06-29T16:46:46","date_gmt":"2026-06-29T16:46:46","guid":{"rendered":"https:\/\/eae-foundation.org\/?page_id=933"},"modified":"2026-07-07T16:44:26","modified_gmt":"2026-07-07T16:44:26","slug":"joost-de-jonge-2","status":"publish","type":"page","link":"https:\/\/eae-foundation.org\/index.php\/joost-de-jonge-2\/","title":{"rendered":"Joost de Jonge"},"content":{"rendered":"\t\t
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ANIMA FORMA CORPUS<\/h6><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t
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JOOST DE JONGE<\/h3><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t
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From left to right: Professor Anton van der Geld, Professor Jan Peter Balkenende, Joost de Jonge.<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t
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Anima Forma Corporis<\/h3><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t
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By Prof. Dr. Jan Peter Balkenende, Prime Minister of the Kingdom of the Netherlands (2002-2010)<\/p>

Joost de Jonge is a special person. He is an artist whom I have come to know over the years as very ideologically moved. The hope for a better, more ideal world lies at the basis of his visual creation. He studied free painting at the University of the Arts in Utrecht and completed his studies cum laude (2002). The colours, which are so characteristic of his painting, are for him a gateway to spirituality, a search for beauty through colour.<\/p>

In his catalogue \u201cZielespiegel\u201d (exhibition Stedelijk Museum Amsterdam, 1997-1998), Harry Mulisch has beautifully expressed how one can best answer the question of what art is. What one has to do is go through all the answers since Plato and choose the most beautiful one. It goes without saying, according to Mulisch, that the most beautiful is also the truest. Hegel speaks in terms of: \u201cThe sensuous shining of the Idea\u201d Schelling answers: \u201cThe finite representation of the Infinite\u201d. Mulisch\u2019s preference is for Schelling\u2019s answer. Mulisch argues that both answers stem from the Platonic tradition, which says that there is another world than the one in which we find ourselves.\u00a0<\/p><\/div><\/div><\/div><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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That world is made visible in the work of art in a general sense. The work of art as a creative epiphany of the Other. Does that Idea or \u201cOther\u201d objective exist; does the work of art give a glimpse of it? Or does the artwork create this \u201cOther\u201d for the viewer?<\/p>

This philosophical body of thought, in particular German Idealism, has occupied Joost since his teens. Mulisch, a literary-philosophical world in itself, was one of his great, undisputed heroes, but the philosophy of Nietzsche and Schopenhauer also played an important role in his thinking. Think of Schopenhauer\u2019s \u201cThe World as Will and Representation\u201d and especially the connection with Hinduism. The church fathers such as Abbot Suger and Thomas Aquinas did not leave him untouched either. Thomas Aquinas mentions, among other things, three essential elements of the beautiful: Integritas, Consonantia and Claritas; completeness, size and clarity.<\/p>

These reflections bring us to Joost\u2019s work. Sometimes the formats of his work reflect forms of theological thought. To give an example: with the dimensions from one to three (think of a work of 210 x 70 cm) he refers to the Holy Trinity. Above all, Joost\u2019s inspiration is literary and intuitive in nature. The work tells its own visual story through its forms. Chance plays a major role in his compositions.<\/p>

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Coincidence can be given a place in a natural way through the intuitive search for forms. This search for forms in an intuitive way is also a search for emptiness, creating a space for a purely visual play. In this game, the Apollonian and Dionysian go hand in hand. Although the struggle for the predominance of clear thinking (Apollonian) or passion (Dionysian) remains visible, it seems to have arrived at a harmony, but an active one, in which this struggle remains visible; it is, as it were, constantly \u201cin flux\u201d.<\/p>\n

The cloud of God\u2019s glory (shechina), between heaven and earth, is a sign of God\u2019s presence. Joost considers artistic creation almost as something prophetic and is always looking for the presence of a divine spark. For him, the painting is an energetic field, in which space is given to the \u201cOther\u201d, or spirituality.<\/p>\n

In all this, for Joost the work must be interesting to look at, with the decorative value predominating. In this way, painting in an abstract sense becomes acceptable to everyone and that art \u2013 outside the forms and colours themselves \u2013 can be experienced \u2018in itself\u2019 as a feeling. Individual expression then becomes a universal form of expression, which can connect people from many origins.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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ANIMA FORMA CORPUS JOOST DE JONGE From left to right: Professor Anton van der Geld, Professor Jan Peter Balkenende, Joost de Jonge. Anima Forma Corporis By Prof. Dr. Jan Peter Balkenende, Prime Minister of the Kingdom of the Netherlands (2002-2010) Joost de Jonge is a special person. He is an artist whom I have come […]<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-933","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/eae-foundation.org\/index.php\/wp-json\/wp\/v2\/pages\/933","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/eae-foundation.org\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/eae-foundation.org\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/eae-foundation.org\/index.php\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/eae-foundation.org\/index.php\/wp-json\/wp\/v2\/comments?post=933"}],"version-history":[{"count":13,"href":"https:\/\/eae-foundation.org\/index.php\/wp-json\/wp\/v2\/pages\/933\/revisions"}],"predecessor-version":[{"id":977,"href":"https:\/\/eae-foundation.org\/index.php\/wp-json\/wp\/v2\/pages\/933\/revisions\/977"}],"wp:attachment":[{"href":"https:\/\/eae-foundation.org\/index.php\/wp-json\/wp\/v2\/media?parent=933"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}