Lot Essay
Born into a large well to do family in Jakarta in 1830, Jan Daniel Beynon travelled to The Netherlands in 1840 to study at the Koninklijke Academie in Amsterdam and had received training from Cornelis Kruseman (1797-1857) and Nicolaas Pieneman.
During his stay in The Netherlands Beynon painted a self portrait, a still-life and two genre paintings. In 1855 the painter returned to Jakarta, where he set up a studio in Molenvliet (Jalan Gajah Mada), Batavia. Eventhough not much is known of J.D. Beynon's further life, the painter left behind an imposing oeuvre consisting of portrait, landscape, still-life and genre paintings.
In her famous book Verlaat Rapport Indie, J de Loos-Haaxman praises work by Beynon exhibited at the Koloniale Uitvoer Handel Tentoonstelling in Amsterdam in Amsterdam in 1883:" ongetwijfeld waren de schilderijen van Raden Saleh, Payen en Beynon de glanspunten van de tentoonstelling" (Undoubtedly, the paintings of Raden Saleh and Beynon are the highlights of the exhibition). Two still-lifes which are known by Beynon's hand are both characterized by triangular compositions of mainly tropical fruits such as banana, mango and coffeebeans. One still-life is reproduced in C.K. Elout's Indisch Dagboek (Santpoort 1926). The majority of the artist's work is in the Beynon family collection.
During his stay in The Netherlands Beynon painted a self portrait, a still-life and two genre paintings. In 1855 the painter returned to Jakarta, where he set up a studio in Molenvliet (Jalan Gajah Mada), Batavia. Eventhough not much is known of J.D. Beynon's further life, the painter left behind an imposing oeuvre consisting of portrait, landscape, still-life and genre paintings.
In her famous book Verlaat Rapport Indie, J de Loos-Haaxman praises work by Beynon exhibited at the Koloniale Uitvoer Handel Tentoonstelling in Amsterdam in Amsterdam in 1883:" ongetwijfeld waren de schilderijen van Raden Saleh, Payen en Beynon de glanspunten van de tentoonstelling" (Undoubtedly, the paintings of Raden Saleh and Beynon are the highlights of the exhibition). Two still-lifes which are known by Beynon's hand are both characterized by triangular compositions of mainly tropical fruits such as banana, mango and coffeebeans. One still-life is reproduced in C.K. Elout's Indisch Dagboek (Santpoort 1926). The majority of the artist's work is in the Beynon family collection.