Another Dutch-born artist by the name of Jacob Hendrik Pierneef came in to prominence during the first years of the 1900s. Pierneef brought the representation of landscapes and a geometric evenness about his work that stood out amongst the others.
Though their class was predominantly male-dominated, female South African artists still shone through the others – Maggie Laubscher, born in the Malmesbury region of Cape Town, and Irma Stern, born in Schweizer-Renecke, gave an alternate look for the new art approach that was being taken by the South African artists by utilizing their own techniques and visions of expressionism and of post-impressionism (Arnold 33). The colors chosen by these two were drastically, yet fantastically, bold in their own rights, reaching out with their own personal perspectives and points of views, unlike the usual, more suitable art (Arnold 34).
A new change and removal of certain limitations was to be taken place as the years of apartheid created more diversity in the art form. The paintings of South African landscapes was forwarded and advanced; abstract art took on a role for many artists because of its threads of independence from the normal images, thus giving each artist that went along with this theme more connections to being different. With the troubles and struggles burdening some of the artists, they in turn, laid the feelings of their troubled emotions down. Unfortunately during this time, numerous Black artists that indeed had much potential in them were neglected and shunned as they were seen as untrained and unfit to carry on with professional art. Therefore, their era of art was sadly built and overshadowed majorly by whites instead of by themselves. Still, Black artists like Gerard Sekoto and George Pemba are recognized as being powerful and just as important as other artists of their time. These two rejected the mixed South African-European arts and artists, and in its place, they drove and returned the art form directly back to its home.