Master painter Henk Helmantel honours the creation story: 'I don't have the impression that I make old-fashioned paintings. My work fits well in modern interiors.'

Museum Gouda will soon show the exhibition Faith, Harmony and Silence by master painter Henk Helmantel. In 2008, he was named artist of the year. At the same time, there are major exhibitions by Helmantel in Gorssel and in Taiwan. His paintings are characterised by a gossamer texture, careful composition and sophisticated lighting. As subjects, he often chooses still lifes and hushed church interiors.

In a small village in the far north of Groningen, Henk Helmantel (1945) lives in a beautiful old farmhouse with a medieval presbytery reconstructed in authentic style itself. The Helmantels have a museum at home with their own work and an authentic art collection of others. Helmantel is a man with a striking head with fierce beard and friendly blue eyes. Important driving force for Helmantel is his faith in God.

Simplicity

You have just come from Taiwan, where a major exhibition of yours is on display for over a year?

'A delegation has been here in Groningen to prepare everything. Including the artistic director, a photographer and a filmmaker. A few weeks ago, we went to Taiwan. The reception was very warm, beautiful banners, good texts on the wall and a complete lifeline with photos attached. They even partially recreated my studio. The title of the exhibition is 'The beauty of simplicity'. This was the most beautiful exhibition I have ever had.'

I read that talent for painting did not come to you?

'That's right, I don't call myself a natural talent, but I am very driven. I have to conquer it a bit more than people like Mathijs Röling or Picasso, who are almost born painting. I have always set the bar high. In the beginning it was all not that impressive, but that developed into a certain level after a few years. I started in 1967, and in 1975 the work really got level. Gradually I got a better grip on composition, light and use of colour.' 

About your working method. What are the phases in your work?

'As a starting point, I have to be interested in the subject I am painting. Glassware, a still life, fruits or something else. Then I make a careful outline in terms of planes, shapes and lines. The composition has to stand like a house. The objects are accurately positioned, without feeling too reconstructed. The playfulness should remain in it. It looks like a happy coincidence, but it has been very well thought out. I do the layout in the first draft with pencil, then the first layer of oil paint where I see if it is correct, then the second layer with detailing and lighting. Finally, a third stage for finishing.'

Eggs

I think the hardest part is painting the light and subtle shadows.

'I cannot say anything in general about that. Each panel is different again. To give an example, I have painted a lot of eggs. You would think I would have mastered that by now, but I still sometimes think it's not so easy after all. Painting makes you look better. Visitors who come here often say how beautiful an apple or an egg is, or how special the light falls on that glass or shell. I also arrange everyday objects in a certain way. An important element is the beautiful light falling on the north side of my studio.'

Light

That mastery of and attention to light is a hallmark of your work.

'I also feel akin to people who gave light an important role. Rembrandt with his chiaroscuro, light falling into a dark composition to draw attention to the person or object. Vermeer lets the light flow in more evenly, to all corners. That appeals to me a lot. I personally think the painting with the onions is one of my best works, it was also hit in one go in terms of light. Fabric expression is something I am very keen on. If all the elements of composition, lighting and fabric expression are right, you are dealing with a masterpiece. I always try, but obviously I don't succeed every time.

As in skating, the difference between gold and silver is very small. If you set the bar very high, like just now with Sven Kramer at the Olympics in South Korea, sometimes it can fail. If you lower that pressure a bit you can sometimes surprise yourself.'

The exhibition at Museum Gouda is called Faith, Harmony and Silence. Faith plays an important role in your life and work.

'That is true, but by that I don't want to claim that I have the wisdom, but I do believe in my own course. I can express myself best in it. I do listen carefully to fellow artists like Rein Pol, who is an excellent analyst. A good painter does not make a bad painting, but one succeeds better than the other.'

Marvel

'I live strongly from wonder. I attribute this wonderment to God who made everything. My source is the Christian faith, that conviction is so rich and complete, it is more than enough for me. While I do realise that wisdom is not reserved for Christians alone.'

Would YOU have been a different painter if you were not religious?

'I couldn't say, but I have an inkling. I was raised Reformed and am happy with my upbringing and my Christian education and have always felt happy with that. It's the best thing I've received, I'd like to tell you about that. You were given a certain baggage, then it's up to you what you do with it. I actually find it much more logical to believe than not to believe. If you look carefully around you and see how everything fits together, it cannot be a coincidence.

The redemption through Christ's crucifixion and resurrection is more reason to rejoice, than to be very gloomy about it. Of course, I also have my doubts sometimes; the line between faith and unbelief is thin.'

Angry visitor

Most visitors who come to the museum in Westeremden are full of praise for his work and unwind in the atmospheric surroundings. People often remember his work years after seeing it. Art expert Willem de Winter ( Kunst & Kitsch) thinks Helmantel is among the top realistic painters. Yet Helmantel was also criticised for his work. For instance, the former director of the museum in Groningen felt that 'his work did not fit into his collection'. Some felt that 'it is old-fashioned or more of the same'. Another says: 'Helmantel come out of your studio and go out into the world.' 'Or Helmantel hasn't renewed himself since 1967.'

Helmantel: 'Nobody says I can't paint well. Not even the critics. The criticism is more focused on the fact that I add little in the progression of art history. I don't have the impression that I make old-fashioned paintings. My work fits well in modern interiors. Let them be glad I am in my studio, this is where it happens! Morandi lived in Bologna and worked in his home, Rembrandt hardly ever left his country. Jan Mankes also kept painting in his own environment.

'Years ago, there was a woman from Hilversum who visited our museum and walked away angry. She cried: ' This world does not exist. You have only beauty to offer, there is so much misery.' The world is a dangerous place with lots of misery and violence. But the other also goes on. I emphasise that otherness. Some say you should also pay attention to that misery.'

 Surely you can also see beauty as an antidote.

'You can also be encouraged or comforted by looking at beauty. Every person needs good and beautiful things. On holidays, people usually go to beautiful places for a reason.' Or in the prophetic words of writer Dostoevsky: 'beauty will save the world.