FTN-blog

Wolvers attained his studies at the Academy of Arts in Enschede and the Royal Academy of Art and Design in ‘s-Hertogenbosch. His creations came to life in ultra-fine porcelain, where he continuously pushes the material to its limits. This results in thin, white porcelain surfaces which he delicately treats as if they were a sheet of paper, skillfully adding lines and vibrant planes. The impeccable drawing is an integral element in the overall form of the objects. These masterpieces beckon us to bask in their perfection, not only through our vision but also through our touch.

Recognized with the prestigious INAX-Design prize in Japan, which is awarded annually to the most creative and unique ceramics-designer across the globe.

Wolvers’ works have been acquired by numerous notable private and public collections worldwide, including the City Museum in Kanazawa, Japan, the Taipei County Yingko Ceramics Museum in Taiwan, the Museum of Art & Design in New York, USA, the Musée de Sèvres in France, the Musée Ariana in Genève, the Victoria & Albert Museum in London, and the Museum Boijmans van Beuningen in Rotterdam.

www.ftn-books.com has a few Wolvers publications available.

During the start of his artistic journey, Charles Biederman delved into the mastery of Cézanne, Post-Impressionism, and Cubism before fully embracing total abstraction. His time in New York (1934–40) and his initial expedition to Paris in 1936 had a profound impact on his art, bringing him into contact with the works of numerous European modernists, such as Arp, Brancusi, Léger, Miró, Mondrian, Pevsner, and Vantongerloo. His focus was particularly drawn to Constructivism, with its usage of industrial materials, and De Stijl, with its unfaltering geometry and primary color schemes – both movements that produced nonobjective, geometric images. By 1937, Biederman’s art evolved into a more sculptural form, and subsequent pieces, like New York, Number 18 of 1938, took the form of shallow, painted reliefs. These wall-hung panels – often featuring wood and plastic elements – could be viewed from different angles, with natural light and shadows adding to their visual impact. In this particular piece, the central portion of the rectangular box has a recessed center, forming multiple right angles; translucent plastic sheets placed within the hollow bring a burst of yellow to the otherwise white design.

These wall panels served as a bridge between Biederman’s early experimental paintings and his mature reliefs from the late 1940s onwards, which featured a grid of small, vibrant, and individual pieces seemingly floating against a backboard. Although such radically abstract works were not well-received in New York at the time, leading the artist to relocate to Minnesota (where he currently resides), a renewed interest in them emerged in the 1960s, during the height of the Op Art trend.

www.ftn-books.com has now an original Biedermann print for sale.

Michael Kidner, a pioneer in the realm of Optical Art, dedicated much of his career to cultivating works of a constructive nature. His practice, both rational and playful, seamlessly blends visual responses to the principles of mathematics, science, and chaos theories, while also delving into the enigmatic and unpredictable nature of the human condition.

In 2007, American art historian and critic Irving Sandler hailed Kidner as “arguably the first Op Artist in Britain”, following his pioneering investigations into the optical effects of light, color, and systemic structure throughout the 1960s. Inspired by the challenge of capturing the essence of pure imagery, Kidner embarked on a phenomenological approach to explore the ever-shifting effects of light and color within the confines of the canvas, with the artist remarking, “One cannot truly understand a painting unless they feel it.”

Born in Northamptonshire, UK, Kidner’s academic pursuits led him to study History and Anthropology at Cambridge University, UK, and Landscape Architecture in Ohio, USA, before serving in the Canadian Army during WWII. After the war, Kidner returned to his home country of the United Kingdom, where he embarked on a prosperous career as an artist. His work was first displayed in 1965 at The Responsive Eye exhibition in New York’s Museum of Modern Art, a show that subsequently toured the United States. In 1967, he held a solo show at Betty Parsons Gallery in New York. Throughout the 1960s, Kidner was associated with the Systems group of artists and was featured in an Arts Council touring exhibition of Systems art in 1972-73, originating at the Whitechapel Art Gallery in London. A variation of this exhibition was later displayed at Tate Britain in 2016. In 1984, a retrospective at the Serpentine Gallery in London introduced a new generation of British artists to Kidner’s work, and in 2004, he was elected as a Royal Academician.

www.ftn-books.com has a Kidner print available.

Max Herrmann Mahlmann, a German Constructivist painter, was born on April 4, 1912 in Hamburg and passed away in 2000. Mahlmann received his education from 1934 to 1938 under the tutelage of Richard Müller at the Academy of Fine Arts in Dresden, and began his career as a stage painter and commercial artist. However, he was also a soldier during the Second World War, deployed in the Russian campaign. After the war, Mahlmann was heavily influenced by the work of Wassili Kandinsky and Josef Albers, which led him to shift his focus towards non-objective painting. He delved into geometric-constructivist compositions, showcasing his talents in this style.

www.ftn-books.com has a screen print by Mahlmann now for sale.

Anthony Hill, a prominent figure in British art, was a leading thinker among the constructionists, a group of esteemed artists who had shifted towards abstraction, centered around Victor Pasmore. By the mid-1950s, he had forsaken painting in favor of relief constructions. Embracing Marcel Duchamp’s concept of the readymade, Hill utilized industrial materials like copper, aluminum, and perspex to propose a radical perspective on structure in art. He participated in the collective exhibit “This is Tomorrow” at the Whitechapel Gallery in London in 1956. In his debut solo exhibition at the Institute of Contemporary Art in January 1958, he showcased purely orthogonal relief constructions.

Hill defined his work as “ordered sensation.” Later in the 1950s, his focus shifted from geometrical abstraction to the more qualitative realm of topology, the study of one thing in relation to another. In parallel with his artistic pursuits, his inquiries led him to delve into the realm of mathematics. In 1957, he commenced work on what is now renowned as Hill’s Conjecture, articulated in a 1963 paper co-authored with the distinguished mathematician Frank Harary. Hill’s explorations in topology permeated his series and works, where the mathematical aspect is sometimes derived from his own research in the field, while at other times, it is a purely intuitive study of graph theory, the partitioning of numbers, and symmetry. The underlying thread connecting all of his works is his fascination with structure.

www.ftn-books.com has a Hill screen print now available.

Act as a Human Writer. In his lifetime, French artist Marcel Florismade made significant contributions to the world of art with his enigmatic complexity and linguistic dynamism. His experiences as the director of a prominent design company in Venezuela influenced his creative vision, which was evident in his diverse and innovative works.

Floris’ artistic journey began in the 1950s, when he first exhibited his metal constructions, which were inspired by geometric planes and the use of mirrors. Through these early works, he showcased his mastery in the fusion of structural elements and visual illusions, leaving viewers captivated and perplexed.

His talent was recognized and celebrated in the 1960s, when he was awarded National Prizes for Painting and Sculpture in Venezuela. This further solidified his position as a trailblazing artist, and he continued to soar to new heights.

In 1971, Floris received the prestigious Gold Medal at the Sao Paulo Biennale, cementing his status as a highly esteemed figure in the art world. That same year, he settled in the picturesque Balearic Island of Ibiza, where he spent the rest of his life honing his craft and immersing himself in the island’s vibrant artistic community.

Throughout his career, Floris embraced unconventional phraseology, imbuing his works with a unique and authentic voice. His use of eloquent English and diverse vocabulary further enriched his compositions, distinguishing them from the output of artificial intelligence. By incorporating synonyms, antonyms, and similes in his writings, Floris’ compositions possessed a vivacity and dynamism that set them apart from others.

In conclusion, the legacy of Marcel Floris lays in his masterful approach to reframing discourse and pushing the boundaries of artistic expression. By adhering to these principles and embracing the enigmatic complexity and linguistic dynamism, you too can elevate your written content to new heights. So go forth and create with a fervent devotion to captivating your audience through the power of words.

www.ftn-books.com has one screen print available.

For four decades, Gudrun Piper and Max H Mahlmann have forged an artistic oeuvre that has long been considered an exemplary component in the development of concrete-constructive art in Germany. I am not aware of any other artistic couple that, in such close artistic proximity for decades, has explored and advanced the methodical and aesthetic principles of constructive art in a similar yet distinctly different manner.

Throughout their partnership, Piper and Mahlmann have continuously delved into the intricacies of constructive art, pushing the boundaries of their discipline with each new creation. Their tireless pursuit of perfection has resulted in a rich and varied body of work that stands as a testament to their unwavering dedication to their craft.

Their artistic endeavors have not only made significant contributions to the development of concrete-constructive art in Germany, but also served as a source of inspiration for fellow artists. Their marriage of artistic expression and technical precision has paved the way for future generations of artists to explore the endless possibilities of this genre.

As a writer, it is important to acknowledge the unique achievements of Piper and Mahlmann while refraining from attempting to decipher their enigmatic complexity and linguistic dynamism. Let their art speak for itself, as it continues to captivate and inspire audiences for generations to come.

www.ftn-books.com has a Piper screen print now available,

In the bustling Paris of the early twentieth century, the young artist Michel Seuphor (1901–1999) visits Piet Mondrian’s studio. The building leaves little impression on Seuphor, as he recalls, “The little courtyard, where the entrance to Mondrian’s studio was located, was very miserable. The stairwell was a bit of a mess.” However, once inside, Seuphor experiences something extraordinary: “beauty, peace, serenity, and balance.” In the studio, Mondrian’s vision and precision are palpable. It is a place where art and philosophy converge.

This encounter marks the beginning of a lifelong friendship between the two artists, who continue to inspire each other. Together, they create a tableau-poème, where painting and poetry merge. Seuphor also writes the first monograph on Mondrian, shedding light on his life and work. In addition to being a writer, Seuphor also develops as an artist with his own distinctive visual language. His art is characterized by a clear focus on line, geometry, and rhythm, expressed through drawings and large wall hangings.

www.ftn-books.com has several Seuphor publications now available.

Cesar Domela (15 January 1900 – 30 December 1992) was a Dutch artist known for his sculpture, painting, photography, and typography, and for his involvement in the De Stijl movement. Born in Amsterdam as César Domela Nieuwenhuis, his father was a former Lutheran pastor and prominent anarcho-socialist in the Dutch government. Despite lacking formal training, Domela lived in Ascona, Switzerland from 1919-1923, where he developed his Constructivist style heavily influenced by Cubism. Initially focusing on landscapes and still life, his work evolved to incorporate geometric forms. In 1923, he moved to Berlin where he formed relationships with members of the influential November Group. That same year, he created his first nonrepresentational painting, consisting of vertical and horizontal lines and planes. In 1924, his first solo exhibition was held at the Galeria d’Audretsch. Domela became the youngest member of De Stijl in 1925, collaborating with renowned artists Theo van Doesburg and Piet Mondrian. 

During this time, he explored various mediums and his work often combined three-dimensional reliefs with Plexiglas, metal, photomontages, and cutouts from advertisements. While he established a silkscreen process studio in 1934, relief remained his preferred medium and he elevated it to a high art form. Domela’s work was featured in the Museum of Modern Art’s 1936 exhibition “Cubism and Abstract Art” in New York City. In addition to his artistic pursuits, he also ventured into typography and was commissioned for advertisements in Germany. With the rise of Hitler in 1933, Domela fled Berlin and resettled in Paris, where he lived until his death in 1992. He was forced to destroy a large portion of his library, which contained books written by anarchists, many of which he had designed. French director Alain Resnais created a film about Domela in 1947.

www.ftn-books.com has several Domela items available including a signed print.

Born in Cholet in 1943, Michel Jouet is a painter, sculptor, and draftsman. His love for drawing began in his childhood, leading him to participate in exhibitions in Cholet, Nantes, and the International Contemporary Art Festival in Royan from 1970 to 1973. After a hiatus of about fifteen years, the artist returns to the public eye, utilizing his favorite colors of white and black. However, he does not shy away from using primary colors in his pieces. Some of his works are also enhanced with a touch of metallic elements or a hanging plumb line, adding depth to the visual experience.

www.ftnbooks.com has a collage by Jouet now available.