A Life of Rebellion and Color

Nola Hatterman was born into a comfortable, well-to-do family in Amsterdam. Her father worked as an accountant for a firm involved in the import and export of goods from the Dutch East Indies, a position that brought the realities of colonial life directly into their home on the Middenweg. As a child, Nola found herself surrounded by the diverse faces of the empire, including many Indonesian students who were friends with her. These early connections planted the seeds for what would become the central focus of her life's work.

Before she ever picked up a brush as a professional, Nola lived a different kind of public life. Between 1914 and 1925, she worked as an actress on both the stage and in films. She studied theater at the Toneel Academie in Amsterdam and joined the Rotterdam acting house, NV Het Rotterdams Toneel. While her time under the lights was significant, she eventually moved away from the theater to find a different kind of expression in her attic workshop. She chose to devote herself fully to the fine arts, seeking a way to communicate truths that acting could not reach.

The Search for Identity and Justice

Nola's artistic path was shaped by her encounter with the political struggles of the era. In the 1930s, she became deeply moved by the writings of Anton de Kom, particularly his work regarding the history of enslaved people in Suriname. This reading, combined with her friendships with young Surinamese models and students in the Netherlands, shifted her focus toward themes of anti-colonialism and social justice. She began to use her art to portray Black subjects with a sense of dignity and realism, intentionally avoiding the stereotypes that were common in the art of that period.

Her paintings often focused on the human element of migration and identity. In works like Op het terras, she captured the presence of individuals such as the musician Louis Richard “Lou” Drenthe. Her style relied on a sense of realism to present her subjects as powerful, individual people rather than exotic figures. This commitment to portraying African and Surinamese identity through an empathetic lens became the hallmark of her development as a painter.

A New Chapter in Paramaribo

In 1953, following the death of her mother, Nola made the decision to move permanently to Paramaribo, Suriname. This was not merely a change of scenery but the fulfillment of a long-held dream to live within the culture she had spent years studying from afar. In Suriname, she became a teacher and a mentor, helping to shape the next generation of artists. She served as the director of the School van Beeldende Kunst, where her students, including Armand Baag and Ruben Karsters, learned both classical techniques and the importance of cultural self-esteem.

Her presence in Suriname left a lasting mark on the local art scene. Even after her death in a car accident near Lantiman Kampoe in 1984, her influence continued through the institutions her students established. The Nola Hatterman Art Academy, located in Fort Zeelandia, stands as a reminder of her dedication to art education and her role as a bridge between different worlds. Her legacy is found not only in the paintings held in museums like the Stedelijk Museum Amsterdam but also in the enduring spirit of the artists she helped train.