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Joost Swarte (continued)

A very nice addition to my inventory. I will add some 35  “new” Joost Swarte collectable titles in the next few weeks. Here you can see which titles you may expect. 


new addition to my Joost Swearte inventory
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Hilla Rebay (1890-1967)

Hilla (von) Rebay

THis blog is on Hilla Rebay, born in Germany but living part of her life in the US. 

The inmportance of this artist is growing by the year and since i have acquired the extremely scarce original 1948 New York catalogue in which she explains what makes her paint in the way she does. The best i can do now is quote the German text which i found on Rebay. Catalogue available at

1948 schreibt Hilla von Rebay im Katalog zur Ausstellung Gegenstandslose Malerei in Amerika in der Städtischen Kunsthalle Mannheim und zahlreichen anderen Städten in Deutschland Folgendes:

„Gegenstandslose Malerei bildet keines der uns auf dieser Welt geläufigen Dinge oder Lebewesen ab. Sie will nichts anderes sein als ein schönes, rhythmisch gegliedertes Gebilde aus Farben und Formen, das durch seine Schönheit allein erfreuen soll. Die Proportionen der Leinwand oder des Blattes selbst bestimmen diese Gliederung, die wie ein musikalisches Kunstwerk kontraproduktiven Gesetzen gehorcht. Das Grundmotiv eines Bildes gibt den Ausschlag für seinen Aufbau, der dann dem Gesetz eines eigenen Rhythmus folgt. Ein solcher Kunst noch ungewohnter Betrachter wird diese Gesetzlichkeit nicht von vornherein erkennen; erst nach längerem Umgang mit diesem Werk wird er im Unterbewussten die Wirkung seiner Schönheit und Vollendung an sich erfahren und seine im Geistigen begründete lebendige Gesetzlichkeit zu verstehen beginnen.
Die gegenstandslose Malerei spricht zu denen, die für reine Schönheit empfänglich sind. Selbst wenn Formen wie Kreis, Viereck oder Dreieck Verwendung finden, Formen, die man in solchen Zusammenhang fälschlich als geometrische bezeichnet, so sind sie hier doch rein künstlerischer Natur. An und für sich betrachtet bestand die reine Form ja schon lange, bevor man etwas von Geometrie wusste, und Geometrie von sich aus war niemals imstande, diese Formen in Kunst zu verwandeln: das ist allein Aufgabe des Künstlers. …

Sicherlich ist es leicht, aus Farben und Formen ein Ornament oder einfaches Muster zu entwerfen; aber wie sich in der Musik eine Sonate durch Melodie, Rhythmus und Kontrapunkt vom einfachen Ton unterscheidet, den jeder anzuschlagen vermag, so ist es auch in der gegenstandslosen Malerei. Nur dass bei ihr, im Gegensatz zur Musik, das Auge als aufnehmendes Organ angesprochen wird. Mag der Betrachter zunächst einfach sein Gefallen am Spiel der Formen empfinden, so wird er allmählich doch dahin gelangen, auch die läuternden und entspannenden Kräfte eines Bildes zu erfahren, dessen Schönheit im Geistigen, nicht im Sinnlichen beruht. …

Vor Tausenden von Jahren gebot uns die Bibel, kein irdisch geschaffenes Bild zu verstehen. Heute endlich besitzen wir die Voraussetzungen, dies Gebot zu erfüllen. Religiös gesinnte Künstler empfanden die innere Verpflichtung als erste; sie verzichteten auf bloße Nachbildung der Natur und suchten dafür nach jener tiefen Konzentration und Selbstdisziplin, die zum Wesen des eigentlich Schöpferischen gehört.“


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Tobias Pils (1971)

Schermafbeelding 2021-09-08 om 14.05.04

I entered the Josef Albers Museum 3 months ago, crossed the treshold and there it was ….on the left at 20 meters, large and totally in black and white… of the most impressive paintings i had seen in years. This is how i learned about Tobias Pils. I dit not know of the artist before, but his works have an abstract and graphic quality i had not seen before.

Schermafbeelding 2021-09-08 om 14.13.15

Working within a palette of blacks and whites and the range of grays that can be made from them, he creates mixed media paintings full of abstract and representational elements. These elements are often arranged so that they flow from one to the next seemingly of their own accord, obeying the dictates of a painterly logic that generates meaning through the accumulation of many small moments. As such, Pils’s works are endlessly captivating as arrangements of textures, flows, and material invention—in a sense, as symphonic, non-objective compositions, even when their mythological content and primal imagery tempt narrative readings. This syncretic approach reflects a mind that revels in contradictions, even as it seeks to suture together contrasting passages with a subtle and virtuosic array of mark-making strategies that are alternately bold, incisive, impressionistic, and completely open to the innate properties of paint medium and support. Pils works at a variety of scales and in different contexts, responding to the urgency of his own intuition and the external constraints of architectural and institutional settings with equal fluency. In each of these forums, he locates the places where the vast and the intimate meet, both in the physical world and the human psyche alike. The Tobias Pils poster for his Josef Albers MUseum exhibition is available at

tobias pils a


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Peer Veneman (1952)

a classic photo of Peer Veneman

I must have been written in the stars since many dutch artist who became houdehold names in the 80’s and 90’s were born and raised in the city of Eindhoven. There are of course Henk Visch and Piet Dirkx to whome i have devoted multiple blogs and now you can add Peer Veneman to that list. Also born and raised in Eindhoven, but this time with a different career. Where Dirkx and Visch stayed initially in Eindhoven, Veneman moved to Amsterdam and soon became part of the LIVING ROOM art scene. Here he had his first successful exhibitions and later his name would become more familiar and his works more succesfull resulting in exhibitions at galerie Onrust and at galerie Hafemann.

He became known in the 1980’s with colorful sculptures that somehow filled the space between abstraction and figuration. Ever since he took the liberty to make abstract and figurative works at the same time, denying the traditional gap between the two. One constant factor evident throughout all his work is his apparent refusal, even within a single piece of sculpture, to do the same thing twice. He aims to give new meaning to sculpture (form), painting (the surface) and architecture (spatial construction). Not only are the formal aspects of visual art questioned by Veneman in his work, his connotative intentions undergo that process as well. has some nice Living Room and Veneman publications available.

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Paul Sharits (1943-1993)

Paul Sharits

A recent personal discovery were the films and videos by Paul Sharits. Because of an invitation card i now have for sale at a searched for Sharits his works on Youtube and found some very interesting 60’s and 70′ video’s. This is certainly one of the pioneering artists in Video art. No need to sit out the full video, but just feel the impact of this work of art.

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Marinus Fuit (1934)

Marinus Fuit

The importance of Marinus Fuit is growing. This Haarlem based artist recently made a gift of 22 paintings by his hand to the Frans Hals Museum / Haarlem, making this now the most important collection of his paintings in the Netherlands.

These paintings are inspired by Pop ARt , but all have a great realistic quality, making these easy to understand and to be admired by many. I always have a feeling that Fuit and Sees Vlag know eachother. The kind of detail in their works look similar. has the scarce Venlo catalogue from 1982 available

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Martin Rous (1939)


Another decade or so…..and i predict that Martin Rous Jr. will be one of the most wanted artists in the Netherlands. Rous has stayed true to his abstract devisions of space and surface. Using canvas , paper and prints to make his message clear to the viewer. In the beginning i did not like the works by Martin Rous, but over time i learned to look at these fascinating works and objects. Learning to see the subtile differences in using lines and dividing space and now i am actively searching to buy some of his works. Wether it is a drawing or a large painting….. It does not matter whatever comes first has my interest. A good thing to know is that i already have a small library with his books and the duplicate copies are available at

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Frits Palmboom

Urban designer Frits Palmboom (1951) made his name in 1987 with the book Rotterdam, verstedelijkt landschap (Rotterdam, Urbanised Landscape), a completely new interpretation of the urban morphology of Rotterdam. Based on a historical analysis of the physical history of the urban landscape, Palmboom showed how a combination of the geology of the delta, the polder patterns and the war damage of the bombardment together with the motors of modernisation of large-scale traffic and ports had led to the characteristic fragmented urban fabric of Rotterdam.

As a student, Palmboom was inspired at the former TH Delft by the work of Pjotr Gonggrijp. His work showed him how drawing could be a form of reading the landscape. In 1973 Palmboom made an analysis of and design for the urbanisation of the area around Alphen aan den Rijn, in which the influence of Gonggrijp is clearly visible. Based on a meticulous morphological analysis, Palmboom developed a linear urbanisation model along a public transport line based on cycles of growth and change.

The design of IJburg (1995-97), which Palmboom made together with Jaap van den Bout, also relates to the coherence between the large-scale manufactured landscape of the polders and the IJsselmeer area, and the physical morphology of the new district of islands. Palmboom designed a vocabulary of transitions between water and land with an eye for the relationship between man and the vast water landscape.

Without a doubt Palmboom is one of the leading Urban architects of our time and it is nice to be able to ofer one of his earliest publications from 1979 inwhich he takes a look at 8 projects on Urban architecture and building in the Soviet Union from 1926-1930.

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Observations 2, Ossip

I have been living with art works by Ossip for the last 20 years. It started with a production of a nice catalogue for the Ossip presentation at the Gemeentemuseum Den Haag and a small purchase at gallery Ramakers and since a studio visit in 2006, i have been following Ossip and his works closely. At some point we have developed a friendship and the same as with other artists i know and have been following i started collecting Their works have become part of our collection and lives.

I always find that people react in different ways on Ossip his works. Some are immediately intrigued and others are scared by the strange and disfigured , humans. I can understand these feelings since Ossip his works bring an “unease” for the viewer. Still i personally also have experienced questions raised when looking at his works. Why? a circle around the centre figure in ” STADJE” and even more why is the circle around the human figure made out of sand?

It is all desolation in this STADJE and the figure looks to be lost in a war scene frfm WWI. Location?…. somewhere in the Alsace region in France/Germany, and circles around the figure. From the centre they spread out and feel like radiation and focussing on this centre/ key figure.

It also can be a style element found by Ossip and used in a series of paintings since i found the same kind of circles in BOY/Jongen, but the difference is that this young man tries to cast a spell to us. There is even a hole in the absolute middle of the painting . Hard to be seen but there, which must have helped Ossip to draw these circles. I find these early works by Ossip more fascinating than his recent works with moving parts and figures. The focus in these early works is the compositions, the focus in his last works is on the movement which make these less interesting to me. has some nice Ossip publications now available including some original art. please inquire at

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Observations 1… Frank van Hemert

Frank van Hemert ./ Secret Survivors

When you have been collecting art as long as i have been doing , one gathers over the years a large collection and have been looking at hese works for many times. Discovering, wondering, gaping and admiring

All these moments add up to an experience i can only highly recommend for everybody. Yes ….everybody since the cheapest of art is available at very small prices. How about Rob Scholte’s multiples that he made for “KRUIDVAT”. Extremely large editions , but still great art and this art isd finacially accessible to almost everybody. The initial price was set as low as a few Euro’s but these have become true collectibles and fetch much higher but still affordable prices nowadays . ( available at

The first Observation i want to share is one of the infamous ” dripping” paintings by Frank van Hemert. This painting from van Hemert was bought by me at auction and when i wrote Frank that we had acquired this painting the first reaction was…..but this one is a”TOTAL LOSS” because of the paint not drying and hardening enough.

And yes Frank van Hemert was right. The pink /red parts were still soft and sticky. This painting had been back to his studio for a restauration and after it had been restored the collector must have thought it wiser to sell……and …it was my luck. Over the years the painting started to dry and it is getting better and dryer every month. A beautiful, impressive painting. A dynamic one too, since the paint looks as if it is moving. I still love this and it has become one of the pillars under our collection.

Almost all van Hemert titles are availabel at