Van Wouw Museum

Anton van Wouw Museum

Anton van Wouw House
Established	1974 (1974)
Location	Brooklyn, Pretoria, South Africa
Type	Art museum (Sculpture)

The Van Wouw Museum, housed in Anton Van Wouw's last residence, a Dutch national monument. Besides documents, photos, paintings and tools the exhibits are mainly bronze maquettes and casts of Van Wouw's sculptural work.

Anton van Wouw was born in Driebergen, near Utrecht in the Netherlands on 26 December 1862. He had a thorough training in academic sculpture in Europe, initially through evening classes at the Rotterdam Academie under the guidance of the Flemish architect and artist, Vieillevoye, but later also in the studio of the Belgian sculptor, Joseph Graven (1836–1877). During his student days he undertook visits to Brussels and Paris to view the galleries there. The experience which he gained early in his life as a stucco-worker had a definite influence on his preference for the art of modelling.

When Anton van Wouw arrived in South Africa from the Netherlands, he was twenty-eight years old. Here he met the indigenous people of the country for the first time. His rendering of Africans shows a perceptual awareness. Not only does Van Wouw show the anatomical characteristics of the African, but he created these studies of the indigenous people with dignity and understanding. Spirit and culture come to the fore in these works. Van Wouw modelled from life and his subjects are shown in different moods and situations. A serene and pensive mood is evident in his bronze sculpture, entitled The Thinker (1935). With his chin resting on his hand, the subject seems unaware of the world around him, lost in his own thoughts.

A happy and joyful mood is created in the bronze work The Laughing Basutu (1936). With his arms folded over his chest and head turned to the right, the subject seems happy and lively. The play of light on the features adds to the liveliness of the work.

In the bronze work The Shangaan (1907) we see a reserved person. He looks slightly down, the brow is furrowed and arms tightly crossed over his chest as if he is cutting himself off from the onlooker.

In The Sleeping African of 1907, the subject is totally relaxed, fast asleep with mouth open and head slightly tilted to the right. The arms are lightly folded. In contrast to this work, The Shangaan seems tense and worried. Calmness, serenity and almost a regal element are present in Zulu (1907). A striking contrast is evident in the texture of hair and beard, as well as the smooth skin. The man seems undisturbed by trivialities. He looks ahead with eyes cast slightly down, proud to be a Zulu.