Literature

cf Elsa Verloren van Themaat, Pranas Domsaitis, Struik, Cape Town, 1976, p 57 where a similar landscape is illustrated.

'His painting was symbolic, the subjective use of colour was emotive, and the forms provided the framework.   A house, for example, loses its historical and architectural significance and becomes only the symbol of a dwelling - white rectangles with dark dashes of paint capture the essence of windows and doors.   The form is simplified and the colours rich in the variety of tone.   In Europe village scenes always interested him, as did now the dwellings of the Blacks.   His landscapes were inherently South African, but had a universal quality of time and place.   Those of the Karoo were the essence of all its villages and hills, but they are also reminiscent of the Baltic lowlands.      There is a sense of eternity in the rhythmic flow of planes; in the low and wide horizons which had the effect of placing the beholder in the landscape, making him conscious of his insignificance; the huge skies, and in the sense of melancholy and heaviness.' p 16