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Home › Belangstelling in argitektuur / Interest in architecture
Plaashuisie / Farm Cottage, Pretoria, 1950. Gemengde media/ Mix media (12 x 13.5 cm). Versameling / Collection: La Motte Museum, Franschhoek
Linosnee / Linocut. 20.5 x 25.3 cm. La Motte Syrah Studio. Versameling / Collection: La Motte Wynlandgoed / Wine Estate. Vertoon op / Featured on: 2014 La Motte Pierneef Syrah Viognier
Kaaps Hollandse huis – Krommerivier, KP
Linosnee / Linocut. 22.4 x 38.9 cm. La Motte Syrah Studio. Versameling / Collection: La Motte Wynlandgoed / Wine Estate. Vertoon op / Featured on: Pierneef Collection Syrah Viognier case
Wonderboom – Noord
Linosnee / Linocut. 14.5 x 21.7 cm. La Motte Jonkershuis. Versameling / Collection: La Motte Wynlandgoed / Wine Estate
Mens sou kan sê dat Pierneef se aanvanklike belangstelling in argitektuur van sy vader Gerrit kom, die was ‘n bouer en selfgeleerde ‘argitek, asook vriende soos Gordon Leith, Gerhard Moerdijk en Norman Eaton, wie bekende argitekte geword het. Pierneef se eerste ontmoeting met argitektoniese tekening was met die familie se verblyf in Holland tydens die Anglo-Boere (of Suid-Afrikaanse) oorlog van 1899 tot 1902. Pierneef het deeltyd teken klasse ontvang in die aand by ‘n argitek vir sowat ‘n jaar lank, dit was op sy vader se versoek.
Met ‘n opsomming van Pierneef se versameling van 298 boeke oor kuns en geskiedenis, wat in 1961 aan die Universiteit van Pretoria geskenk is, bewys dit dat Pierneef bekend was met die bou metodes en argitektuur van antieke Egiptenare, Grieke en van sy eie tyd. Sy belangstelling het wyer gestrek en ook nader aan die huis deur aandag te skenk aan kontemporere argitektuur, boutradisises van die inheemse mense en ‘vernacular’ style in Suid-Afrika. Al het Pierneef gevoel dat die argitektuur van Kaaps-Hollands nie aan die land behoort nie, het hy steeds die skoonheid van die opstalle geniet. Kaaps-Hollandse huise is onder andere van die mees bekendste onderwerpe wanneer na die werk van Pierneef met argitektuur as tema gekyk word. ‘n Substansiële aantal sketse en linosneës, wat soms omskep is in beeldskone atmosferiese olieverfskilderye kan gevind word in verskeie versamelings. Hier is die belangstellende onderwerpe dominant in die areas van Tulbagh, Somerset-Wes en Stellenbosch.
Dit was meer die inheemse en ‘venacular’ style wat hy waardeer het, as gevolg van hul eenvoudigheid ten opsigte van konstruksie en voorkoms. Pierneef het dus gevoel dit is argitektuur wat ‘n balans en harmonie met die omgewing skep deur gebruik te maak van beskikbare material soos klip, sand, hout en riet. Voorbeelde sluit in die Hartbeeshuisies, Xhosa en Zulu hutte. Die belangstelling in argitektuur het ook tot gevolg gehad dat Pierneef sy eie huise gebou het, die eerste by 25 De Waal straat in Pretoria tydens 1910. Die is gevolg met ‘n gemessel by die huis in Villeria tydens die 1930s en dan die meesterstuk, Elangeni, net buite Pretoria in 1939.
One could state that Pierneef’s initial interest in architecture came from his father, Gerrit, who was a builder and self-taught ‘architect’ as well as his friends Gordon Leith, Gerhard Moerdijk and Norman Eaton, who became well known architects back in the day. Pierneef’s first encounter with architectural drawing was with the family’s stay in the Netherlands during the Anglo-Boer (or South African) war of 1899 to 1902. Pierneef attended part time drawing classes presented by an architect in the evening for about a year on his father’s request.
With a summary on Pierneef’s collection of 298 books on art and history, that were donated to the University of Pretoria in 1961, it shows that Pierneef was probably familiar with the building methods and architecture of the ancient Egyptians, Greeks and of his own time. His interest stretched broader and closer to home paying attention to contemporary architecture, building traditions of the indigenous people and vernacular styles in South Africa. Even though Pierneef felt that the architecture of Cape Dutch did not belong to this country, he admired the beauty of these homesteads. Cape Dutch homes are amongst the most depicted subjects when looking at works by Pierneef with architecture as theme. A substantial amount of drawings and linocuts which in some cases were rendered into beautiful atmospheric oil paintings can be found in various collections. Here the subjects of interest are dominant in the areas of Tulbagh, Somerset West and Stellenbosch.
It was more the indigenous and vernacular styles he appreciated due to their simplicity in construction and appearance, thus Pierneef felt it is architecture that created a balance and harmony with the environment by the use of available materials such as stone, sand, wood and thatch. Examples include the ‘Hartbeeshuisies’, Xhosa and Zulu huts. The interest in architecture also resulted in the building of his own houses, the first was at 25 De Waal street, Pretoria in 1910, followed by building at their Villeria home during the 1930s and the masterpiece of all Elangeni just outside of Pretoria in 1939.