A little to the West of the platinum boomtown is the fabled Rustenburg Kloof. This is a popular picnic site and Plesieroord, where the lawns around the 60′s style bungalows are well watered and trimmed. Knowing the site from my own reworkings of the original Pierneef, I found the exact spot right away. Of all 28 Station Panels, Rustenburg Kloof may just be the best. The Pierneefian formula of a melancholic landscape underneath huge building clouds can get too obvious at times, but here it is very strong.
Careful, mathematical composition is a hallmark of the panels. They’re also very strongly circular – the arch of the clouds finds an echo in the ochre earth. The circle is reinforced by the use of tone – so we are drawn to the centre by that very light Naples yellow behind the thorn tree. Also, the cliff seems immense behind the contours of the central dark areas – there’s no middle ground to give us a sense of its scale.
That bit of tarmac covers a small bridge running over the river, barely discernable in the original on the left. The tree to the left may or may not have been there 80 years ago. Either way, he chose to put in a thorn tree instead. In the late morning light, it looks good but ordinary compared to the high drama of the Pierneef. The afternoon light above the rockface makes it look craggy and pitted – nothing like that smooth expanse of rock in the painting. The Pierneef is based on an early morning light. And you wouldn’t see those clouds early in the day. Aha, another of Oom Henk’s little manipulations.
We take it for granted that the camera shows us what is “real”. But it only captures a moment. Pierneef gives us a highly stylised version of the world, but it conveys a reality far truer to our memory and our emotional recall of the South African landscape.