Early Life, Family and Training

Wim Steijn entered the world on 28 January 1914 in the village of Assendelft, Netherlands. He was born to Trijntje Volger and a cigar maker named Pieter Steyn. His early years were shaped by the wide, open polder landscapes of Jisp and Wormer, where the expansive Dutch countryside first met his gaze. This environment, defined by its vastness and light, would remain a constant presence in his memory and his later compositions.

The boy's talent for drawing emerged early, guided by the hand of the Zaanse painter Jaap Kaal, who provided his first formal lessons. As his ambition grew, he sought more rigorous instruction, eventually moving toward the city to study under Henk Gorter in Amsterdam. During these formative years, he also attended an evening art school in Krommenie between 1928 and 1932, balancing his studies with the realities of his youth. These early lessons provided the foundation for a life dedicated to the brush and the sketch.

Life and Work in Haarlem and Bentveld

After spending his formative years amidst the landscapes of Assendelft, Oostzaan, Jisp, and Wormer, Steijn moved to Haarlem in 1935. This transition marked a period of intense study and professional development. In 1937, he became a pupil of Henri Boot, a connection that would shape his artistic path. He later spent two years studying under Kees Verweij, a time during which the two men shared a studio and worked side by side.

The conclusion of the war brought a significant change to his personal life and his surroundings. He married Janna Koolman, and together they found a home at the Groot Bentveld estate. They resided in one of the side wings of the property, where Steijn established his workshop. This setting, characterized by its proximity to the dunes and the sea, provided a steady environment for his creative labors. He remained tied to this location for many years, continuing his practice until his death in Bentveld on 23 August 1980.

Artistic Style and Technique

Steijn’s hand moved with a certain intuitive grace, guided by a deep, instinctive relationship with his materials. He did not merely apply paint to a surface; he worked with the substance itself, often employing a heavy impasto technique that gave his canvases a physical, tactile presence. This thick application of pigment allowed him to build up layers that captured the light and the rugged textures of the world he observed. His compositions ranged from the quietude of still lifes and the structured lines of cityscapes to the expansive, rolling forms of figurative landscapes.

There was a profound emotional duality that often surfaced in his brushwork. He possessed a rare ability to balance explosive power with a sense of serene contentment, a tension that mirrored the shifting moods of his life and the women who inspired him. In his portraits, this duality became even more apparent, as he sought to capture the inner spirit of his subjects through bold, sometimes expressionistic strokes. He sought to translate the essence of a moment, whether it was the turbulent sky over a landscape or the steady gaze of a sitter, into a tangible, material reality.

• Maas bij Maastricht (1970)

Exhibitions and Memberships

The recognition of his talent arrived early in his career, finding its way into the prestigious halls of the Rijksmuseum in Amsterdam. In 1939, his work was selected for the exhibition Onze Kunst van Heden, a significant moment that placed his vision alongside the contemporary art of the day. This inclusion marked a period of growing visibility for a man who would spend much of his life deeply connected to the landscapes and light of the Netherlands.

As his reputation grew, he sought the company of his peers through various artistic societies. He became an active member of the Haarlem artist society De Groep, a community that allowed him to remain rooted in the creative life of the region. His reach extended further to the Amsterdam Arti et Amicitiae, where he joined a long tradition of painters and creators. These affiliations were not merely formal titles but represented his place within the professional fabric of the Dutch art scene.

His commitment to the craft was further evidenced by his involvement with the Nederlandse Kring van Tekenaars and the Beroepsvereniging van Beeldende Kunstenaars. Through these organizations, he maintained a steady presence in the professional circles of his time. He often signed his creations with the mark WSTEYN, a personal signature that accompanied the works he shared with these various groups and institutions.