Artist: Jacoba van Heemskerck (1876–1923)
Title: Bild no. 15 (Segelboote) (English: Painting no, 15 – Sailboats)
Date: Circa 1914
Medium: oil on canvas
Dimensions: height: 97.5 cm (38.3 in); width: 113.5 cm (44.6 in)
Collection: Museum Boijmans Van Beuningen
What I love about this painting:
The sharp corners and geometry of this composition raises the viewer’s eye toward the horizon. It feels cubist, is abstract, and reflects a spiritual connection to her subject. I love the symbolism in this image. The sailboats are souls sailing toward the next life across a deep blue sea and beneath a golden sky. The island temple toward which the boats sail is shaped like a pyramid. The elongated sails of the many boats direct the eye up. Everything, including the island temple, points toward heaven.
In this painting, it is easy to see how she would later become involved in creating stained glass—the sharp black outlines and vivid colors of her paintings are perfect for that medium.
According to the Kunstmuseum Den Haag’s website:
“But whereas Mondrian’s artistic approach eventually became austerely geometrical, Van Heemskerck’s developed as a result of a variety of influences (including anthroposophy) into an open, unconstrained and intuitive style. Throughout her life, she would seek – like Kandinsky – to express spiritual experience. The recurring subjects in her oeuvre are therefore invariably symbolic in nature: sailing ships, bridges and trees, depicted in clear, vibrant colours and with firm outlines. Although she was never to abandon the representation of the real world, Van Heemskerck’s style was eventually so abstract that her subjects became virtually unrecognisable. This approach won her great success, especially in Germany, where she exhibited at the Berlin Expressionist gallery Der Sturm every year from 1913 until her death.” 
About the Artist, Via Wikipedia:
Jkvr. Jacoba Berendina van Heemskerck van Beest (1876-1923) was a Dutch painter, stained glass designer and graphic artist who worked in several modern genres. She specialized in landscapes and still-lifes.
Her first contact with Modern art came in Paris, where she took lessons from Eugène Carrière. She remained in France until 1904, then went to live with her sister, Lucie, and was introduced to the art collector, Marie Tak van Poortvliet, who became her lifelong friend and later built a studio for her in the garden of her home. After 1906, she spent her Summers in Domburg, where she came into contact with avant-garde painters such as Piet Mondrian and Jan Toorop, who offered her advice. Around 1911, she was briefly interested in Cubism.
Shortly after, she became involved in Anthroposophy, possibly through the influence of her former teacher, Nibbrig, who was a Theosophist. She then became an avid follower of Der Sturm, an avant-garde art magazine founded by Herwarth Walden, and turned increasingly to Abstraction. In 1913, she attended the Erster Deutscher Herbstsalon in Berlin, where she met Walden and started what would be a lifelong correspondence. Thanks to his efforts, her work was popular in Germany, while it remained somewhat ignored in her home country.
After 1916, she developed an interest in stained glass windows, designing them for the naval barracks and the Municipal Health Department building in Amsterdam, as well as private residences. From 1922, she lived in Domburg with her old friend and patron, Tak van Poortvliet.
She died suddenly, from an attack of angina. Both Tak van Poortvliet and Walden mounted exhibitions of her work, in Amsterdam and Berlin respectively. In 2005, a major retrospective was held at the Gemeentemuseum Den Haag. 
Credits and Attributions:
 Kunstmuseum Den Haag contributors, “Jacoba van Heemskerck,” Jacoba van Heemskerck A REDISCOVERY, Jacoba van Heemskerck | Kunstmuseum Den Haag (accessed March 31, 2022).
Wikipedia contributors, “Jacoba van Heemskerck,” Wikipedia, The Free Encyclopedia, https://en.wikipedia.org/w/index.php?title=Jacoba_van_Heemskerck&oldid=1078279427 (accessed March 31, 2022).