Born in October 26, 1974, in Lopik (Netherlands) Tjaarke Maas started to paint
since her early childhood. At the age of 18 she goes to Willem de Kooning
Academy, Rotterdam and later continues her studies in New York.
Since 1996 she lived in Florence, Italy where she is accepted into the
Accademia di Belle Arti (Academy of Fine Arts). Here, Tjaarke quickly becomes
an outstanding student, participating in both solo and group exhibitions drawing
the interest of the private collectors in Italy, France and USA. Her ideas on art,
her spirit and style of life attract fellow artists who form a creative circle
around her.
In 2003 Tjaarke graduates from the Academy with diploma cum laude. She
continues to paint intensively and proceeds to work on iconography. Tjaarke
combines writing icons with studying the theology of the image — these forms
the basis of her personal spiritual pursuit. At the same time she also writes poetry,
prose and fairy-tales for children.
In June 2004 Tjaarke gets a commission to paint the icon of the Transfiguration.
She begins and following the impulse, seeks refuge in Assisi, to continue her
work in the forest surrounding the Hermit Monastery of San Francis (Eremo
del Carcere). She retreats with her books, materials and the icon-board in a
small cave hidden within the forest. There she lives and works in solitude and
prayer in search of revelation that would guide her to approach the
“Light of the Transfiguration” and translate its image into the icon.
Tragically, it is in these surrounds, under the mysterious circumstances, that her
life comes to a sudden end.
Tjaarke now rests on the hills of her beloved Florence, in the evangelical
cemetery "Agli Allori" under a mighty cypress tree.
/.../ Artists are not 'dying’ - they just move on from one studio to the other”
so the artist Lev Meshberg writes about Tjaarke.
/.../ Her talent was God's given, she was in no pursuit of fame /.../ any stroke on
canvas or wood constituted a true spiritual act /.../ She was a genuine born-to-be
painter, a subtle draftsman, she was longing for harmony – with no hint of cheap
tricks or vulgarity /.../ Her works were alive, pulsating, with the profound
combination of the gift and intellect, which are the essence of the art."
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