I confess that I hadn’t heard of the Dutchman Carel Willink, and I owe my exposure to him to ace film critic, acquaintance of Russ Meyer, and all round arts maven, Anne Billson (whose extensive film database is a very witty and stimulating bargain on Amazon),
But if you like Giorgio de Chirico, Rene Magritte, Lawrence Alma-Tadema or Paul Delvaux, then you’ll like Willink. Technically very gifted and versatile – his portraiture is outstanding – he had the ability to produce startlingly evocative dreamscapes like the one in this post. The elegaic mood and unspoken history in them remind me of neighbouring Belgian Fernand Khnopff, albeit the style is very different. Khnopff was inspired by the unique gloomy atmosphere of Bruges (which is still there, despite the tourism), and his literary parallel is with fellow Belgian Georges Rodenbach, whose beautiful (and readable) Bruges-la-Morte is effectively a symbolist novel. In Willink’s work symbolism mingles with surrealism, classical landscape and technical precision. It’s an interesting observation that notwithstanding the Greek de Chirico, all this is very Nordeuropa, in a line that stems from the fantasy and improbable landscapes of Bosch, Bruegel and particularly Patinir, the most obscure of these three giants.