Charley Toorop
| Charley Toorop | |
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Charley Toorop in 1903
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| Born |
Annie Caroline Pontifex Fernhout-Toorop March 24, 1891 Katwijk |
| Died | November 5, 1955 (aged 64) Bergen, North Holland |
| Nationality | Dutch |
| Known for | painting, printmaking |
Charley Toorop (March 24, 1891 – November 5, 1955) was a Dutch painter and lithographer. Her full name was Annie Caroline Pontifex Fernhout-Toorop.
Charley Toorop was born in Katwijk. She was the daughter of Jan Toorop and Annie Hall. She married the philosopher Henk Fernhout in May 1912, but they divorced in 1917. Her son Edgar Fernhout (1912–1974) also became a painter. Her other son, John Fernhout (1913–1987), became a filmmaker, and often worked together with Joris Ivens. As a filmmaker he sometimes used the name John Ferno. Charley's daughter in law was the well-known Jewish photographer Eva Besnyö (1910–2003), who married John in 1933.
In the on-line biography of the Dutch poet Hendrik Marsman on the website of the Dutch Literary Museum Charley Toorop is mentioned as one of the women who had a relationship with Marsman before he married in 1929 his wife Rien Barendregt.
Charley Toorop became a member of the group of artists called Het Signaal (The Signal) in 1916. The group aimed at depicting a deep sense of reality through the use of colours and heavily accentuated lines and through fierce contrasts of colours. This is one of the reasons why Toorop is seen as adherent to the Bergense School.
Toorop was befriended to other artists, for example to Bart van der Leck and Piet Mondriaan. In 1926 Charley Toorop went to live for two years in Amsterdam, where her painting became influenced by film. Frontally depicted figures stand isolated from each other, as if lit by lamps at a movie set. Her still lifes show kinship to the synthetic cubism of Juan Gris. From the 1930s onwards, she painted many female figures, as well as nudes and self-portraits in a powerful, realistic style. Well-known is her large painting Three Generations (Drie generaties) (1941–1950; in the Museum Boijmans Van Beuningen, Rotterdam), which is a self-portrait, a portrait of her father and of her son Edgar, in which she unites both realism and a sense of symbolism.
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