A Life of Quiet Observation

Salomon Meijer, known to many as Sal or Sally, lived a life defined by the steady rhythms of Amsterdam and the small, silent moments of the everyday. Born in 1877 into a Jewish family of diamond-cutters at Zwanenburgwal 10, his early years were shaped by the weight of the diamond industry. As a young man, he worked as a diamond adjuster, a role that required a precise eye and a certain patience. This period of his life was not one of artistic pursuit but of necessity, as he balanced the demands of the family business with private drawing lessons taken from 1898 onwards.

The transition from the trade to the canvas was gradual rather than sudden. While he continued to work in the diamond trade for years, his devotion to painting grew until 1914, when he finally committed himself to art full-time. This shift brought both creative freedom and personal upheaval. His marriage to Liesje Giehl, who was not Jewish, created a rift with his parents so profound that it prompted him to leave the family home. By 1930, he had moved to the village of Blaricum, seeking a new environment within a community of fellow artists.

The Art of the Small and Simple

Meijer did not view himself as an artist in the grand or theoretical sense; he preferred to see himself as a tradesman. He referred to his works as schilderstukjes, or little paintings, and applied paint with a methodical, almost industrial precision. His technique involved applying tiny dots of pigment on canvas, sometimes in several thin layers mixed with varnish, to capture reality as closely as possible. This approach resulted in a style that many labeled as naive or primitive, though Meijer himself saw it merely as a way to depict the observable world without embellishment.

His subject matter was deeply rooted in his surroundings. He found profound meaning in the following:

• Cats: Often portrayed as solitary individuals facing the viewer directly, without toys or distractions.
• Amsterdam Cityscapes: Detailed views of canals, streets, and landmarks like the Lutherse Kerk.
• Landscapes: Scenes of Blaricum, including haystacks and corn fields.
• Still Lifes: Simple arrangements, such as bread, butter, and a knife.

Survival and Reappraisal

The mid-twentieth century brought significant challenges to Meijer’s existence. During the German occupation of the Netherlands, he was forbidden from exhibiting his work. However, his mixed marriage provided a shield that allowed him to survive the war years. For much of his life, his contributions remained largely outside the critical spotlight, recognized mostly by local enthusiasts and collectors of animal subjects.

A shift in perception began in 1957, when an article re-evaluated his importance, prompting a broader recognition of his skill. This period saw his work move from the periphery to more established institutions, including exhibitions at the Stedelijk Museum in 1958. Though he died in 1965, the quiet dignity of his portraits—particularly those of cats, which earned him the moniker "Raphael of the Cats"—ensured that his particular way of seeing the world would not be forgotten.