2
AUDIO COMPANY
Wim Blom’s work is conceived for private contemplation and
makes it special appeal to those who wish to savour at close range
the artist’s particular way with form, colour, texture and light. His
work invites intimate, meditative inspection, his subject matter -
single objects, still life, interiors - extend an analogous invitation.
In this patient, selected and passionate search, the realism of his
paintings is faithful to the object represented, but it transcends
reality and is submerged beneath poetic transformation.
3
Wim Blom: A Bridge Between Realism
and Abstraction in Contemporary Art
Wim Blom (1927–2021), born Willem Adriaan Blom in Germiston,
South Africa, emerged as a pivotal figure in 20th-century art,
seamlessly blending rigorous academic training with a deeply
contemplative artistic practice. Over his nine-decade life, Blom
cultivated a legacy marked by his dual mastery of hyperrealistic
still lifes and bold abstract explorations, his influence spanning
continents from South Africa to Canada. His work, housed in
prestigious institutions like the National Gallery of Canada and
the South African National Gallery, reflects a lifelong commitment
to transcending artistic boundaries while maintaining a dialogue
with tradition. Blom’s career—encompassing roles as an
educator, curator, and internationally exhibited painter-
“Wim Blom was one of South Africa’s most important painters, and we were
very fortunate to have him make Canada his permanent home.
Wim leaves behind a legacy that continues to captivate art enthusiasts.”
4
exemplifies the fusion of intellectual rigor and creative
innovation, leaving an indelible mark on both academic and
public spheres of art.
Early Life and Formative Education
Roots in South Africa
Wim Blom’s artistic journey began in Germiston, South Africa,
where he was born on February 22, 1927. Growing up in a region
marked by cultural diversity and geopolitical complexity, Blom’s
early environment likely influenced his later preoccupation with
themes of stillness and introspectio. His formal education
commenced at the University of the Witwatersrand in
Johannesburg, where he earned Bachelor of Arts (Honours) and
Master of Arts degrees in Fine Arts. This institution, a cornerstone
of South African academia, provided Blom with foundational
training in both practical artistry and art historical scholarship. .
European Postgraduate Immersion
Blom’s intellectual curiosity led him to pursue postgraduate
studies at the University of Edinburgh in Scotland and the
University of Perugia in Italy during the 1950”s. These European
sojourns proved transformative, exposing him to Renaissance
masterpieces and modernist movements. In Florence, he
undertook dedicated painting studies, absorbing techniques from
Italy’s rich artistic heritage while beginning to develop his
distinctive visual language. His time in Perugia and Edinburgh not
only deepened his understanding of Western art traditions but
also instilled a transnational perspective that would characterize
his later work.
5
Artistic Evolution and Professional Trajectory
Academic and Curatorial Foundations
Before fully committing to painting, Blom established himself as
an educator and museum professional. He lectured in the
Department of Fine Arts at his alma mater, the University of the
Witwatersrand, while simultaneously teaching drawing at the
Johannesburg Art School. This dual role as both scholar and
practitioner informed his methodical approach to art-making. In
1963, Blom transitioned to curatorial work, joining the National
Gallery of Canada as Research Curator and later serving as
Curatorial Administrator. During this period, he edited the
National Gallery’s Bulletin, described by contemporaries as
“splendiferous” for its scholarly rigor. His 1968 appointment as
Commissioner for Canadian Entries at the Venice Biennale and
São Paulo Biennale underscored his growing international
reputation.
Transition to Full-Time Painting
The 1970’s marked Blom’s decisive shift from academia to
painting. Relocating to Europe, he divided his time between Italy
and Spain, environments that profoundly influenced his artistic
output. The Mediterranean light and architectural forms
permeate his compositions, from the geometric precision of
The Blue Door to the atmospheric abstraction of Suspended Bird
Cage.This period also saw Blom experimenting with graphic
techniques, studying lithography at Mexico’s Instituto Allende and
printmaking at Calgary’s Southern Alberta Institute of Technology.
Such technical diversification enabled him to oscillate between
media while maintaining thematic consistency.
6
Artistic Philosophy and Stylistic Innovation
Hyperrealism as Poetic Transformation
Blom’s mature style coalesced around what critics termed “poetic
realism”—a meticulous rendering of everyday objects that
transcended mere representation. Works like Long Afternoon
(1976), housed in the South African National Gallery, exemplify
this approach. By isolating mundane items—a weathered door,
an empty chair, a sunlit wall—Blom invited viewers into
meditative spaces where form and light acquired metaphysical
resonance. His still lifes, devoid of human figures, became arenas
for exploring time’s passage and material impermanence.
Abstract Explorations
Parallel to his realistic works, Blom maintained an abstract
practice rooted in gestural experimentation. The 1950s–1970s
saw bold, non-representational pieces like Fishermen in Rimini
(1953), where dynamic brushwork and layered textures evoked
emotional landscapes rather than literal scenes.
These abstractions, though less commercially prominent than his
realism, reveal an artist constantly challenging perceptual
boundaries. As noted in his 1986 exhibition catalogue, Blom’s
abstractions “submerged reality beneath transformative poetic
gestures”.
Technical Mastery Across Media
Blom’s versatility extended beyond oil painting to encompass
lithography, etching, and mixed-media works. His 1998 fellowship
at Ireland’s Ballinglen Arts Foundation spurred innovations in
textural application, particularly in layered landscapes merging
abstraction with subtle representational elements.This technical
dexterity allowed him to revisit motifs across decades, as seen in
the 2007–2016 series exhibited at Vancouver’s Ian Tan Gallery,
where familiar forms reappeared through evolving stylistic lenses.
7
Institutional Recognition and Global Reach
Major Collections
Blom’s work resides in over 15 public collections across four
continents, a testament to his transnational appeal. Key holdings
include:
National Gallery of Canada: Early abstract works and
later realist studies
South African National Gallery: Major paintings
documenting his stylistic evolution
Royal Scottish Academy: Works from his Edinburgh
period
Corporate collections like Mobil Oil (Cape Town) and
Kangra Holdings (Johannesburg).
Private collectors span from Japan to Switzerland, with particular
concentration in Canada and Spain—nations where Blom
maintained studios.
Prestigious Exhibitions
Blom’s exhibition history reflects sustained international
engagement:
1957: Awarded the Dante Alighieri Gold Medal in Florence
for contributions to Italian art
1982: Primo Premio at Spain’s Certámen Internacional de
Pintura for The Blue Lamp
1998–2016: Recurring solo shows at Vancouver’s Ian Tan
Gallery, charting his late-career developments
2007: Retrospective at the Johannesburg Art Gallery,
cementing his status in South African art history.
8
Legacy and Posthumous Influence
Pedagogical Impact
Blom’s academic appointments nurtured generations of artists.
His pedagogy, emphasizing technical precision alongside
conceptual depth, shaped curricula at the Johannesburg Art
School and University of the Witwatersrand. Former students
often cite his interdisciplinary approach—merging art historical
analysis with studio practice—as foundational to their careers5.
The Wim Blom Estate
Managed through wimblom.ca, Blom’s estate perpetuates his
vision via limited-edition giclée prints and archival projects. The
2024 release of The Beauty of Stillness, a 34-print folio,
democratizes access to his oeuvre while maintaining exclusivity
through 50-copy editions.Such initiatives ensure Blom’s work
remains dynamic within contemporary discourse rather than
static in museum vaults.
Critical Reappraisal
Recent scholarship positions Blom as a bridge between post-war
European modernism and Global South artistic movements. His
synthesis of Mediterranean light with African materiality,
particularly in late-career interiors, anticipates contemporary
debates about transcultural aesthetics.The 2023 Ian Tan Gallery
monograph frames him as “a quiet radical”—an artist whose
subtle subversions of realism expanded painting’s philosophical
possibilities.
9
Conclusion: The Endurance of
Contemplative Art
Wim Blom’s career defies simplistic categorization. As both a
South African émigré and Canadian cultural figure, he navigated
complex postcolonial identities without reducing his art to
political statement. His works—whether a hyperrealist study of
sunlight on plaster or an abstract field of gestural marks—share
a commitment to slow looking, challenging viewers to reconcile
perception with imagination.
In an era increasingly dominated by conceptual art and digital
media, Blom’s legacy affirms the enduring relevance of painterly
craft. There are rumours that in 2025 centenary exhibitions are
planned in Vancouver and Johannesburg which will likely
catalyse renewed interest in his contributions, particularly his
ability to harmonize academic discipline with poetic intuition. As
global art markets reassess 20th-century masters, Blom’s star
continues to ascend—a quiet luminary whose light persists long
after his passing.
Wim Blom in his studio on Saltspring Island Canada.
10
Wim Blom has exhibited internationally. His work is represented in
public collections, such as the National Gallery of Canada and the
South African National Gallery, in numerous corporate collections
and in private collections in Canada, France, Great Britain,
Germany, Israel, Italy, Japan, The Netherlands, New Zealand,
Poland, South Africa, Spain, Switzerland and the U.S.A.
EDUCATION:
B.A. Hons., M.A., University of the Witwatersrand, Johannesburg,
South Africa; University of Edinburgh, United Kingdom; University
of Perugia, Italy; Studied painting, Florence, Italy; Studied graphic
techniques, Southern Alberta Institute of Technology, Calgary,
Canada; Studied lithography, Instituto Allende, San Miguel de
Allende, Mexico.
APPOINTMENTS:
Lecturer, Department of Fine Arts, University of the Witwatersrand,
Johannesburg; Instructor, Johannesburg Art School, Art Gallery of
Ontario, Toronto, Canada; Research curator, National Gallery of
Canada, Ottawa, and Editor of the Bulletin of the National Gallery
of Canada; Curatorial Administrator, National Gallery of Canada.
PUBLICATIONS:
Author of a variety of exhibition catalogues, articles and historical
studies in painting.
AWARDS:
1957 Dante Alighieri Gold Medal, Fine Arts Society
of Florence, Italy
1979 Medalla de honor, XVII Salón de Primavera,
Atenéo de Mahón, Spain
1982 Primo Premio, Certámen Internacional de
Pintura, Mahón, Spain
1998 Fellowship, The Ballinglen Arts Foundation, Republic of
Ireland
12
In a small narrow restaurant the
tables are very closely placed
together, obviously to
accommodate as many customers
as possible. The freshly starched
table-cloths overlap and the
corners intertwine as if they are
having intimate, secret and silent
conversations.
Wim Blom Journal Venice September 14, 1966
Still life on a shelf 2017 Oil on panel 66 x 76.2 cm (26” x 30”) AVAILABLE
Click on paintings to enlarge
13
An empty room 2005 Pencil and yellow wash on paper 13.3 x 27.9 cm
(5.25”x 11”)AVAILABLE
Carapace 2006Egg tempera on paper 40 x 46cm (15.75” x 18”)
AVAILABLE
14
Lamp and plate 2014 Oil on canvas 45.7 x 66 cm (18”x 26”) AVAILABLE
Shelf with bowl 2015 Oil on canvas 66 x 66cm (26” x 26”) AVAILABLE
15
Still life below an open window 2015 Oil on panel 71 x 61cm (28” x 24”)
Shelf with a ribbon 2016 Oil on canvas 45.7 x 66cm (18” x 26”) AVAILABLE
17
Room with red table cloth clickto enlarge
In painting I look for a civilised mind at work. The results should reflect
carefully selected content, be well-finished, reveal acute observation,
taste, sensitivity and impact. If these qualities are badly balanced or any
of them absent, the end product is invariable second rate or worse.
Wim BLom Journal October 30, 1998
35
Our coffee table photo book 8.5”x 11” with 34 high gloss prints is now
available for purchase. $49.95
37
Still Life with small gift Oil on canvas Signed and dated 1984
Tondo-Still Life 2014 2014 oil on canvas 55.9 x 50.8 cm
38
Fossil 2004 Egg tempera on gesso panel 25 x 30 cm
Wim Blom- Dry leaf 2009-2010 Egg tempera on gesso panel 27.4 x 32 cm
41
Wim Blom - Folded cloth on segmented box 1986 oil on canvas 38 x 60 cm
Oriental rug 1985 60 x 73 cm
52
Wim Blom - Lock oil on canvas 2014 31 x 41 cm
Shell and Books on shelf oil on canvas 40.64 x 63.5 cm (16” x 25” in)
55
Wim Blom - Roman still life 1980 oil on canvas 35.5 x 57.8 cm
Wim Blom - Flow blue and valencian jug 1985 oil on canvas
57
Wim Blom - Iron and grinder on shelf 1983 oil on canvas
Sea day 1978 oil on canvas 41 x 66 cm *Mrs.T.Retief - Johannesburg SA
58
Wim Blom -Wine Measure and Nijmegen box 2007 oil on canvas 41 x 61 cm
Wim Blom - Side table and chair oil on canvas 1984
61
Wim Blom - Girl in Doorway 1974
Wim Blom - Requiem for a Goldfinch 1997-8 oil on canvas-38-x-45.5
62
Wim Blom - Still life with Spanish cheese press 2002 40 x 50
Wim Blom - Reeds with pink wrapped-parcel
63
Wim Blom - Blue Dipper (2001) oil on canvas 38 x 54 cm
Wim Blom - Green striped cloth with white bowl 2002 oil on canvas 54x73
