Oil painting

Francien Krieg

YEAR 1973


Precious bodies

Francien Krieg [1973] is a Dutch artist who lives in the countryside in the middle of The Netherlands. She is living there with her two children and husband, working fulltime in her studio. 

She graduated from the Royal art academy in The Hague in 1998, obtaining a degree in Monumental art, which brought her to think conceptually and during which she discovered her fascination for the human body. Francien Krieg expressed her thoughts in these academic years with meat installations and human skins made of rubber. 

A few years later, she picked up her passion for painting at The Free Academy of The Hague. She expressed her fascination for the human body in paintings with unusual body perspectives.  Soon her work was picked up by art collectors and art galleries. Her work became part of important Dutch art collections like the ING Collection and the former Scheringa collection. One of the better galleries in The Netherlands, Gallery Mokum in Amsterdam, picked up  on the quality of her work and initiated a cooperation. 

Francien’s career development brought her works to be shown at exhibitions like the art fair Scope Basel, the art fair Realisme Amsterdam, Robert Lange Studios in Charleston USA, From motion to Stillness Chicago at Zhou B art center, Townsend atelier Women painting women [r]evolution Tennessee US and recently an exhibition at Gallery Beinart named Strak realisme featuring Effie Pryer and Ville Lopponen.

In 2017, she was nominated for the Dutch Portrait Award and shortlisted for the Figurativas 2017 at MEAM in Barcelona. 

Additionally, her work was published in the Austrian art magazine Milionart Kaleidoscope featuring a three-page article. Also recently, her work was in the family issue of Poets and artists, curated by Shana Levenson and David Kassan.  Also her work was part of the MEAM exhibition 2019 Painting today and she published a book about her work 2018. 


Oil on linen | 80 x 100 cm | 2019

Moonlight grace

Oil on linen | 150 x 100 cm | 2019


Oil on linen | 120 x 60 cm | 2019

Patterns of life

Oil on linen | 120 x 100 cm | 2019

Moonlight reminiscing

Oil on linen | 120 x 60 cm | 2020
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The truth is that I paint myself ... and therefore the battle of my own body with age, my own fears and my fascination with death. 

That fascination began at an early age because my father was preoccupied with death. His mother passed away at a young age and the subject was taboo, nothing could be said about her death. As a result this had such an impact on his thoughts that as an adult he conducted a thorough investigation on whether there is life after death. Listening to voices of deceased people and the radio program 'The black hole' with Andre Groote filled the living room on Sunday afternoon. 

His fascination also became mine, but this only became apparent years later when I was in art school. I made installations made of skins, meat heads, empty cocoons and baby skins. What appealed to me in this is the contrast between the tangible and the intangible of the body, the familiar contrasts with the distance that I feel in my body. 

The sudden death of a close friend during my time at the academy reinforced this feeling. The distance to my own body and my mistrust of it became even greater. Would my body also betray me in this manner? What followed was a long search that is still on-going, a search for the acceptance of transience. 

In the early stages I created paintings in which human forms were visible. I painted these in a detached manner: heads were removed, the bodies were decorative, eye contact was almost non-existent, there was no contact with the viewer. As my work developed I was sitting closer to the skin, from strange perspectives I showed the alienation to my own body. My fascination with the body deepened, I began to paint other people, especially those who deviate from the ideal of beauty. But even more, I really wanted to paint people like you and me, a universal image of the aging person. Staying true to myself, I have confined myself to the female body. 

Fellow artist Alan Katz summarised this in his own words and as follows.  

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