The connection between Henri Matisse and his son was multifaceted, fraught with intricate complexities that both hindered and propelled their relationship. A captivating joint biography delves into the intricate dynamics between renowned Post-Impressionist painter Henri Matisse and his son Pierre, a prominent art dealer. Drawing from Pierre’s previously unpublished records and a plethora of correspondence between father and son, this enthralling work paints a vivid picture of art in the twentieth century. Obtain this captivating piece of literature at www.ftn-books.com.
Bierenbroodspot, born in Amsterdam, first honed her artistic skills under the tutelage of her illustrious uncle, Leo Gestel, a prominent figure in the Dutch modernist movement. She further pursued her studies at the prestigious National Academy of Art in Amsterdam. Drawing inspiration from archaeological realms, Bierenbroodspot weaves her paintings, sculptures, and wall-rubbings, infused with her unique and deeply personal take on modernity – both thematically and stylistically. In a manner reminiscent of the great painters of the Golden Age, she spends a quarter of every year traversing the awe-inspiring archaeological trails of the Middle East. Throughout her life, Bierenbroodspot has resided and created among the remnants of three renowned Caravan Cities: Petra, Palmyra, and Baalbeck. A multifaceted artist in her own right, Gerti Bierenbroodspot is widely recognized as a prominent figure in the Dutch art scene, excelling in the mediums of painting, sculpture, writing, and poetry.
It has been about 3 years ago that i dedicated a blog to the first packaging of the Haarlem based FRIETHOES. Now i found that they make another sort of French Fries called FRANSE FRIETJES. For this packaging Swarte made a differenrt packaging. This i gladly share with all Swarte collectors. The original is of course available at www.ftn-books.com together with many other collectable Swarte items.
Amidst a world where snap judgments reign and few people dare to be truly themselves, Morena Bamberger serves as a refreshing voice of opposition. Every action and creation exudes authenticity, as she operates purely on intuition and emotion. Her work defies easy description, as she adeptly combines various crafts. Whatever she creates, it is always born from a meditative state. Her Sinti heritage and clairvoyant abilities allow her to enter a different reality at times. As she explains, “the intangible world is just as present as the wind. It’s there, and everyone feels it, but you can’t see it.” Her artistic repertoire includes paintings, sculptures, stories, sounds, scents, and more. It is all-encompassing.
In 2018, the artist graduated from the Maastricht Academy of Fine Arts and Design. This was followed by a busy period, as she exhibited in one show after another, from the Beurs van Berlage to a residency in Leeuwarden. When the covid era arrived, everything came to a halt; not just in terms of work, but in her whole being. This brought a time for reflection and contemplation, prompting her to only take on projects that would create an upward spiral of energy. “The love, time, and energy I poured into my work was not reciprocated. This resulted in the circle never being complete, and I became emotionally drained.”
Ever since she was a little girl, Morena has experienced the world in an intuitive and highly sensitive way. She possesses the innate ability to understand and assist others. “After going through many personal experiences, my passion for helping and coaching people in a natural way arose alongside my artistry. They have melded together perfectly. As an intuitive healer and coach, I seek to stimulate the inner world of individuals, just as I do with my installations on a surface level. On one hand, this provides support for people, while on the other hand, it simultaneously gives me new inspiration for my visual art. It all goes hand in hand.”
Morena has a deep connection with Limburg, if not everything. She was born and raised in Roermond, and now resides and works from Well, North Limburg. “My entire family lives in Limburg, and I find it quite comfortable. I have no intentions of ever leaving. In my experience, people always yearn for their place of birth.” When asked what sets her work apart, she answers firmly. “I want to convey a very important message. Especially in this day and age, it is crucial for people to turn inward and stay true to themselves. I strive to be an example of this through my work. I am always myself, and I am not afraid to show it. My work calls for vulnerability and taking risks; I dare to do it, so why can’t you?”
www.ftn-books.com has the invitation for her Stedelijk MUseum Schiedam exhibition now available.
Artistic Journey Ilke Gers’ artistic voyage is marked by the interplay of installation, performance, and publications, exploring movement, human behavior, social constructs, and spatial conditions. She received her education at the prestigious Werkplaats Typografie and honed her craft as a resident at the renowned Jan van Eyck Academie from 2014 to 2015. Her thought-provoking work has been showcased at esteemed venues such as LLS Paleis in Antwerp, the Biënnale Van België in Ghent, Kunsthal Rotterdam, De Appel in Amsterdam, 019 in Ghent, De Fabriek in Eindhoven, Beursschouwburg in Brussels, and D21 – Kunstraum in Leipzig. Gers is also a member of the Action Publishing Collective, based in Rotterdam.
A Career on the Court In her flourishing tennis career, Gers achieved two doubles titles on the challenging ITF Women’s Circuit. On May 13, 2002, she reached her highest ranking in singles, standing strong at world No. 382. As for doubles, she peaked at an impressive world No. 167 on February 2, 2004.
The Final Match After years of dedication to the sport, Gers retired from the tennis scene in 2004.
www.ftn-books.com has now two limited typographic editions by Gers available.
Fikret Moualla, also known as Fikret Saygi, entered the world in Istanbul in 1903. He was exposed early on to the intricacies of drawing and French culture, due in part to attending a French-speaking high school. Expanding his horizons, he traversed Europe, journeying through Switzerland, Germany, and France to expand his knowledge and skills. However, a succession of psychiatric crises and hospitalizations, coupled with his father’s reluctance to continue supporting him, caused him to return to Turkey. There, he was deemed mentally sound and appointed as an art teacher in a high school in Ayvalı, a position he soon relinquished to devote himself fully to his craft. After a prolonged stay in the hospital, Moualla opted to leave Turkey for France in 1939.
In Paris, the fragility of his mental state was further exacerbated by alcoholism. Thanks to the patronage of Dina Vierny, Fikret Moualla held his first exhibition in Paris in 1954 and forged relationships with prominent French artists. He became a regular exhibitor in Parisian galleries, not limited to Dina Vierny’s, but also including those of France Bertin, Marcel Bernheim, Bruno Bassano, and Katia Granoff. Despite his turbulent reputation and periodic bouts of hospitalization, Fernande Anglès, a collector, supported him financially. Subsequently, the artist shifted his focus towards a more primitive style of painting.
Youki Desnos, an artistic figure from Montparnasse, expressed his admiration for Fikret Moualla’s paintings, describing them as vast “patches” of pure, continuous color. These bold surfaces, with their vibrant hues, are never brash or vulgar. In fact, the colors used by Moualla to recreate space and light are astonishingly accurate in their tone, imbued with tremors and depth. They serve as a backdrop for Moualla’s drawings, which are fast, confident, and incisive in their portrayal of characters and their gestures.
In a style that is both authoritative and tender, Moualla’s drawings convey exactly what they need to, with a perfect economy of means. There is no room for complacency or dryness in Moualla’s art; instead, it creates a feeling of openness and spaciousness, naturally complementing the strength of his drawings. In this interplay of subtlety and boldness, Moualla’s colors come to life, perfectly complementing and enhancing the overall composition.
Unfortunately, in 1962, Fikret Moualla became paralyzed, and he spent his last days in a clinic in Reillanne where he passed away in May of 1967.
www.ftn-books.com has the RUEB catalog for his exhibition now available.
Enigmatic complexity and linguistic dynamism are integral elements for Sam Israël, as language, music, and imagery are intricately intertwined in his artistic expression. The form, handwriting, color, emotion, and visual qualities are all interwoven in his various forms of expression. Similar to the way colors in his visual works sometimes juxtapose in a jarring manner, while the meaning of the piece is not immediately clear, his texts also possess layers that may not immediately unfold to the listener. This is similar to the relation between the consonants and dissonants in his songs, which are usually not simple harmonic triads, but a occasionally erratic yet consistently composed journey through life.
On the 15th of March, 1936, Hans van der Lek was born in The Hague, where he also passed away on the 9th of March, 2001.
Hans pursued studies at the Royal Academy of Fine Arts in The Hague and at the Free Academy, also in The Hague. In addition, he was taught by Willem Hussum and Nol Kroes. Later on, he became a teacher at the academy and at Conny Sprinkhuizen’s.
As an artist, Van der Lek mainly worked in The Hague, Berchem (Antwerp), and Rijswijk.
Known for his collages, paintings, textile art, and gouaches, he created both figurative representations, abstract works, portraits, and still lifes. He gained particular recognition for his wall hangings.
Hans van der Lek was a member of the Pulchri Studio.
John LaFarge was brought into this world in New York City, the offspring of well-off French emigres. His father sought refuge from the botched Napoleonic voyage to San Domingo. From an early age, LaFarge displayed an aptitude for drawing. Though he received sporadic instruction, he ultimately graduated from the Roman Catholic Mount St. Mary’s College in Maryland. In 1856, he ventured to Europe, briefly working under the tutelage of painter Thomas Couture in Paris before embarking on a journey through northern Europe. Upon returning to the United States, he headed to Newport to study under the guidance of William Morris Hunt, where he would eventually cross paths with both William and Henry James (William was also a student of Hunt’s at the time).
LaFarge was amongst the pioneering American artists to import and be swayed by Japanese color prints (1863). In 1886, he journeyed to Japan with Henry Adams, later releasing his publication, An Artist’s Letters from Japan (1897).
LaFarge’s first major commission was a vast undertaking in the form of a series of mural adornments for Richardson’s esteemed Trinity Church in Copley Square, Boston (1876). The two had been close friends for some time prior, with H.H. Richardson emerging victorious in the architectural competition to design the new Trinity Church. In reference to Trinity, LaFarge said, “I was able to propose to Richardson that we alter the entire character of the building… I brought him photographs of Spanish Romanesque churches, such as Avila and others… It was through this that I had the opportunity to embellish Trinity Church, Boston, which was being erected by my friend Richardson, who placed immense trust in me despite having little proof of my capabilities.”
In his lifetime, John LaFarge mastered a revolutionary technique for crafting opalescent glass, leading to numerous commissions from churches and private patrons seeking elaborate stained glass windows. Some of his most notable works were created for Trinity Church in Boston, Harvard’s Memorial Hall, the Church of the Incarnation, and the Paulist Church in New York City. Despite these commissions, LaFarge never abandoned his love for painting and accepting mural projects. One of his most famous mural works is the grand apse painting of the Ascension of Christ at the Church of the Ascension in New York City, which he completed in 1887.
By birth, upbringing, and choice of lifestyle, John LaFarge was a true cosmopolite. Those who knew him personally attested to his remarkable personal charm and magnetism. Amongst those who greatly admired LaFarge’s works was Elihu Vedder, barely a year younger than him and one of the few whose opinions he valued. Vedder spoke highly of LaFarge’s paintings, particularly his skill in conveying intricate thoughts and concepts that render words nearly inadequate.
Hermann Markard perceives his work as a dialogue between what he sees and how he responds to it. According to Markard, the interaction between two individuals is something elusive and fascinating; at times, it seems as though you are in sync, and suddenly you are at a great distance from each other, or even in direct opposition, like in a magnetic field. This mechanism does not apply to landscapes or still lifes. Markard’s aim is not to depict his subjects with utmost realism. In fact, I believe that the strength of figurative paintings lies in the viewer’s curiosity towards the depicted figure, without necessarily knowing who they are. I do not have my models pose, but rather present them through an intuitive and sensitive approach, capturing them as I see them, says Markard.
Hermann Markard Markard (1926, Nierstein, Germany) began drawing and painting at the Karlsruhe Academy of Art towards the end of World War II, at the age of sixteen. After a few semesters, he was called for military service. After the war, he had the opportunity to continue his studies. Upon completing his studies at Oskar Kokoschka’s Schule des Sehens in Salzburg, he began his professional life and career. Markard currently resides and works in Amsterdam. In 2009, the Scheringa Museum for Realism in Spanbroek presented a solo exhibition featuring his work.
Artist/ Author: Oliver Boberg
Title : Memorial
Publisher: Oliver Boberg
Measurements: Frame measures 51 x 42 cm. original C print is 35 x 25 cm.
Condition: mint
signed by Oliver Boberg in pen and numbered 14/20 from an edition of 20
