At first, Hofker had his models pose in a classic, European, somewhat static way, and made the composition more lively by using accessories like wood carvings, musical instruments or baskets for daily offerings. Over time, this developed into more dynamic compositions, involving several people, and he eventually was able to capture the Balinese girls while they were dancing, or striking a dancing pose: in this way, the most typical poses of the Ardjé, Lègong, Mendèt, and Djangèr dance were frozen onto paper by Hofker.
Even in 1944 and 1945, when Hofker was separated from his wife and interned in Japanese camps, he continued to draw and paint and made some of his most beautiful work. Hofker, like no other, could visualize the anatomy of the girls’ arms, hands and fingers in such detail. And like no other, he could suggest the tropical light by using gouache paint, which emphasized the grace and elegance of his models.
co-author -with Seline Hofker- of the upcoming publication about Willem Gerard Hofker
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