Lucas van Eeghen

Profile  |  Artworks
to the light, 2015 Mixed Media 110x58x50cm © Lucas van Eeghen
Silver linings, 2014 Mixed Media On Canvas On Panel 100+ X 60+ X 30 Centimeters © Lucas van Eeghen
Tilted (side view detail), 2014 Mixed Media On Canvas On Panel 3 D 100+X60+X25 Cm © Lucas van Eeghen
libera me, 2013 Mixed Media On Paper 60x80 Cm © Lucas van Eeghen
libera me detail sideview, 2013 Mixed Media On Paper © Lucas van Eeghen
pars pro toto detail 1 Mixed Media On Canvas © Lucas van Eeghen
pars pro toto detail 2 Mixed Media On Canvas
pars pro toto right side view Mixed Media
Pars pro toto (pollard willow), 2011 Mixed Media On Canvas 140 X 100 X 20 Centimeters © Lucas van Eeghen
Feathers of Fate, 2013 Mixed Media On Canvas 80 X 100 X 10 Centimeters © Lucas van Eeghen
Feathers of Fate detail sideview Mixed Media On Canvas © Lucas van Eeghen
But that´s all over now, 2015 Mixed Media 60x120x30cm © Lucas van Eeghen
Madeliefje (oh my daisy), 2015 Mixed Media On Panel 92 X 76 X 12 Centimeters © Lucas van Eeghen
field of love detail, 2013 Mixed Media On Canvas 80x100 Cm © Lucas van Eeghen
Progress, 2017 Mixed Media © lucas van eeghen
Live, 2014 Mixed Media 60 X 100+ X 25 Centimeters © Lucas van Eeghen
Live (left side view), 2014 Mixed Media 60 X 100 X 25 Centimeters © Lucas van Eeghen
Live (right side view), 2014 Mixed Media 60 X 100 X 25 Centimeters © Lucas van Eeghen
Detail of the Garden of Pain and Joy, 2015 Mixed Media On Canvas On Panel (3 D) 120+X60+X60 Cm © Lucas van Eeghen
the Garden of Pain and Joy, 2015 Mixed Media On Canvas On Panel (3 D) 120+X60+X60cm © Lucas van Eeghen
Tilted (right side view), 2014 Mixed Media © Lucas van Eeghen
tilted (left side view), 2014 Mixed Media © Lucas van Eeghen
Towards the light (frontal view), 2014 Mixed Media 110 X 50 X 58 Centimeters © Lucas van Eeghen
night shelter right side view, 2013 Mixed Media 100+ X 140+ Cm © Lucas van Eeghen
night shelter left side view, 2013 Mixed Media On Canvas 100x140x60cm © Lucas van Eeghen
night shelter, 2013 Mixed Media On Canvas 100 X 140 X 60 Centimeters © Lucas van Eeghen
Field of Hope, 2012 Mixed Media On Canvas On Panel 62 X 122 X 60 Centimeters © Lucas van Eeghen
Field of hope detail 01, 2012 Mixed Media © Lucas van Eeghen
field of Hope right side view Mixed Media © Lucas van Eeghen
Enigma detail Mixed Media © Lucas van Eeghen
Enigma (left side view, detail), 2013 Mixed Media 100x140x0cm © Lucas van Eeghen
Enigma (right side detail), 2013 Mixed Media 100x140x60cm © Lucas van Eeghen
Enigma , 2013 Mixed Media 100 X 140 X 50 Centimeters © Lucas van Eeghen
Progress, 2017 Mixed Media © Lucas van Eeghen
whereto?, 2017 Mixed Media © lucas van eeghen
whereto detail, 2017 Mixed Media © lucas van eeghen
Mixed Media © lucas van eeghen
Mixed Media © lucas van eeghen
Mixed Media © lucas van eeghen
Quick Facts
Lives in
Works in
Non-Representational mixed-media, station, Gulf War, portrait, church, NY, 3D perception, interior, Amsterdam, figurative, mixed-media, conceptual, modern


Prof. Daniele Radini Tedeschi, the curator of the Triennale di arte visive a Roma 2014, declared the Dutch artist, and Life time achievement winner, Lucas van Eeghen, to be one of the heralds of the new movement of this millenium, Tiltestetica (also known as Estetica Paradisiaca, Editoria Giorgio Mandadori 2014, ISBN 978-88-6052-549-9)): 'As an artist-seer of today Lucas van Eeghen sets course to evoke a vocabulary of archetypes and iconographic models. (..) He builds the surface of the canvas literally of leaves, foliage and stems in order to frame his new works. He is the great protagonist of the nature infiltrating the visual arts. The ruins of postmodernism are put into a new key. That works cathartic. His approach is synthetic and simultaneously baroque. But although Van Eeghen is on the one hand moving in the direction of Futurism, he owns on the other hand, an extreme individuality that connects him in the art of painting - the old craftsmanship -  with Ferdinand Khnopff and even Vermeer.'

Gianni Dunil wrote in Aeterna (2017): 'The Dutch artist Lucas van Eeghen is permeated by a great poetic sensibility. He is part of the artistic lineage that for centuries explores the relationship between man and nature. The concept of Mimesis, in fact, stands at the basis of classical aesthetics: the fusion of artistic beauty and natural beauty has stimulated the thoughts of philosophers for centuries, such as Plato, Arstotele, the brothers Schlegel, Fichte and many more. Van Eeghen rediscovers the traditional bond between artist and imitation of nature by making works that transform the natural element making it seemingly artificial, by creating a perceptive deception that follows the reverse of the experimentations of the past. In his 3D paintings, the artist inserts leaves and stalks of real plants by crystallizing them using particular industrial paints. The effect of this operation is of great effect and the viewer has to reason what the actual material of his works is. In 'Enigma' the leaves appear to emerge from the white color of the canvas, completely empty and white, which serves exclusively as a support. The boundary between natural and artificial, therefore, is becoming more and more lenient, drawing the contours of a desired return to the original harmony between man and earth and the renewal of the bond that binds them from the origin of the times.'

Giorgio Vulcano (Last paradise, 2014, Editoriale Giorgio Mondadori, isbn 978-88-6052-580-2) wrote: (.. for) 'Kant, in his Kritik des reines Vernunft,  art is based no longer on imitation, but it is regarded as the ingenious creation of the artist, although he still assumes a strong connection between art and nature: "... the human talent is the innate disposition of the soul with which nature sets rules to art."

In that perspective fits the artistic talent of the Dutchman Lucas van Eeghen, who with his recent 3D paintings in mixed media skillfully explores the relationship between mankind and nature, and prompts us to not consider them as separate concepts. He does this by encouraging to think in an open debate on the question, "do contemporary human beings feel to be inextricably linked to nature?" Examples are the works Field of Hope (2012) and Field of Love (2013), in which the mixture of natural and artificial elements produce extrordinairy effects in a three dimensional, colorful and communicative environment. In his 3D work Van Eeghen uses true leaves and stems, which he petrifies in his very own technique using industrial paints in shades of green, red or blue. He transforms the canvas from a simple support into a meaningful dimension of the visual image, and in that process he uses compositional effects that are close to reality but ultimately illusory, in order to express the artificial processing of natural forms.

The nature of our time shows the fading boundaries between nature – as what used to ordaine this world in absolute terms - and the artificial. The "divine" order of the world has been destroyed or lost - there is no longer a nature that should be respected - and thus not only disappears the distinction between nature and the artifice, but everything is in principle feasible and artificial. In the inspiration of Van Eeghen an implicit warning is hidden: todays life with the continuous progress of science and technology may deprive mankind of its naturalness and its nature. Van Eeghen wants to recall with his "paintinsculptures" how the leaves had a life of their own, before they were crystallised by him, embalmed, as it were, in their own plastic.'

The 3D recent paintings in mixed media are indeed unique in its sort. The paintings invite to touch. Questioning the relation of mankind and nature. What are the paintings made of and how long do they last? Are all things of true value fragile and defenseless? The images are picked out of the air like songs, seemingly coming from nowhere. A new language opens a soft world of floating intuition. The poetry of toujours l'amour et la mort. And the hope that keeps us alive.


Lucas van Eeghens paintings have been exhibited a.o. in Galery Siau, Arti & Amicitiae, Nieuwe Kerk, Beurs van Berlage, Vondelkerk, Centrum Bellevue, Royal Palace at the Dam, Alexander F. Milliken Gallery (NYC), NTG Gent, popup galery kerkstraat 276, Museo d'arte Chianciano, Art Monaco, Triennale di arte visive a Roma 2014, Delfi Form Zwolle, Gallery Gagliardi London, Gran Finale Triennale Roma, Amsterdam Whitney Gallery NY, Triennale di arte visive a Roma 2017. Nominated for royal subsidy. 3rd Willink van Collen award, multiple Artslant show case winner, Biennale 2013 Chianciano: Leonardo  award, Triennale di arte visive a Roma 2017 Lifetime achievement award