Signature: Signed and dated
Anon. author, 'Monographie für Jef Verheyen', Hanover, circa 1967.
Renate Wiehager (ed.), 'Zero und Paris 1960. Und Heute', Stuttgart, Ostfildern: Hatje Cantz Verlag, 1997.
Willy van den Bussche, 'Retrospectieve Jef Verheyen 1932 – 1984', exh. cat., Provinciaal Museum voor Moderne Kunst, Ostend (26.03 – 13.06.1994), Stichting Kunstboek, Oostkamp (Brugge), 1994.
Freddy De Vree (ed.), 'Jef Verheyen. Lux est Lex', exh. cat., Axel Vervoordt Kanaal, Wijnegem (1.03 – 17.04.2004), Wijnegem, 2004, cat. no. 75, ill. p. 104.
Tijs Visser (ed.), 'Jef Verheyen and friends', exh.cat., Langen Foundation, Neuss (11.09.2010 – 16.01.2011), ASA Publishers, Brussels, 2010.
About Jef Verheyen
Belgian painter Jef Verheyen spent his entire career studying the subtleties of color and light. “My life has been a permanent dialogue with light; actually a rather nice title for a book,” he once quipped. Beginning with vigorous and gestural abstract paintings, Verheyen evolved a practice in which he started to conceal the mark of the painter altogether. He built up paint in series of translucent glazes that he used to produce subtle gradations of color, in the manner of the Dutch Old Masters; however, he relied on water-based and household paints in opposition to the traditional use of oil paints. Verheyen’s use of an extremely wide bristle brush allowed him to completely hide his brushstrokes and remove any traces of a working process, a method that made his colors appear to separate from the support and hover.
Belgian, 1932-1984, Itegem, Belgium, based in Apt, France