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His stay in Paris in 1906 was, however, crucial for Sluijters. There he was grabbed by the work of the neo-impressionists and the Fauvists and that of artists such as Henri de Toulouse-Lautrec and Kees van Dongen. He took on the achievements of these painters like a sponge. With loose brush strokes and in bright colors, Sluijters expressed the Parisian Street-dynamically and café life in works as Café Olympia, Femmes qui s'embrassent and Bal Tabarin. Paintings which deemed too frivolous and too risky by a part of the Dutch public. It cost him his scholarship, but earned him a lot of publicity - unintentionally – in The Netherlands. Once back in Amsterdam in november 1906, he had already set a name for himself as a pioneer of the Dutch modernism.
The vehement reactions from the conservative critics – his paintings on exhibitions were often denied – did not bring Sluijsters to restrain his curiousity. On the contrary, he continued experimenting with all kinds of new, modernist forms of expression and processed these into a mostly own, recognizable style of painting. Initially he chose the periphery of his hometown of Amsterdam as a topic. From 1907 and 1908 date many luminist landscapes and townviews, which were composed of broad dots and strokes of bright, unmixed colors. In these works he emphasises on the appearance and the sensation of light, where the free, expressive colour keys determine the structure of the canvas. The luminism peaked in his paintings which he made in 1909 in Heeze and especially from 1910 painted in Laren.
|Height||35.00 cm||(13.78 inches)|
|Width||30.00 cm||(11.81 inches)|