What is often unknown is that Heyboer was a celebrated artist in the 1960s and 1970s, with his work being acquired by the MoMA in New York, exhibited at the Documenta in Kassel, and honored with major exhibitions at the Gemeentemuseum Den Haag and the Stedelijk Museum Amsterdam. In 1975, he was even presented alongside David Hockney and Lucian Freud at LACMA in Los Angeles as one of the most prominent European painters of that time. Now, forty years after his last major museum exhibition, the Gemeentemuseum aims to once again showcase the international caliber of his oeuvre. This exhibit highlights the evolution of his work, emphasizing the period from 1956 to 1977, while also shedding light on the “system” that the artist utilized to make life bearable for himself. It is evident how the life and work of Heyboer are inextricably intertwined.
In 1960 maakt Anton Heyboer een tekening voor zijn vrouw Maria. In deze tekening Mijn leven verantwoord maakt hij aan haar duidelijk wie hij is en hoe hij het leven samen voor zich ziet, met haar als centrum en structuur van zijn leven. Samen met Maria vertrekt hij uit Amsterdam. Heyboer, die door de oorlog zwaar getraumatiseerd was – hij overleefde een werkkamp in Duitsland – en al een opname in het psychiatrisch ziekenhuis Santpoort achter de rug had, zou anders vermoedelijk aan de drank en chaos in die grote stad ten onder zijn gegaan. Hij gaat met Maria zijn vierde huwelijk aan, maar zij is de eerste van de vijf vrouwen met wie hij uiteindelijk in Den Ilp samenleeft. De tekening is te zien in de eerste zaal van de tentoonstelling en is een duidelijk voorbeeld van de wijze waarop Heyboer via zijn etsen en tekeningen een systeem creëert om grip op zijn demonen te krijgen. Het is de kunst die zijn leven redt.
Reimagine Heyboer’s 1960s and 1970s etchings as a prime example of his artistic prowess. Within the established hierarchy of the arts, graphics are often seen as a lesser form, used primarily for reproductions and limited edition works. However, Heyboer’s etchings defy this notion, as each one boasts its own unique composition, carefully crafted to be further refined after the printing process. His incorporation of photography adds another dimension to his pieces, and yet, all his works maintain a cohesive and unmistakable connection. Heyboer’s enigmatic, mystical, and profoundly personal visual language sets him apart from the prevailing commercial art movements of the time, such as Pop Art and Minimal Art. In fact, a comparison could be drawn between him and his contemporaries, such as Joseph Beuys, who also employs self-created symbolism influenced by the horrors of World War II.
The power of Heyboer’s work and its distinctive position within the art world has not gone unnoticed. From the 1960s onwards, the MoMA in New York repeatedly purchases his works. He also exhibits at various editions of Documenta in Kassel; in 1959, 1964, and 1969. The Gemeentemuseum Den Haag also frequently acquires Heyboer’s works from the 1960s onwards and in 1967, under the curatorship of Hans Locher, organizes the first major retrospective exhibition of Heyboer’s graphic works. Locher is also one of the first art historians to interpret Heyboer’s symbolism, forging a deep connection between them.
In 1975, Anton Heyboer, now an internationally celebrated artist, receives a major exhibition at the Stedelijk Museum Amsterdam. Here, he displays large paintings for the first time. The exhibition can be seen as a pinnacle, but also as a turning point in his continuously growing international reputation. Heyboer increasingly struggles with his role as a successful artist. At the end of the exhibition, almost all the paintings return to his estate, where he once again attacks them with red paint, essentially destroying the original works. He withdraws from the art world, adopts a humorous attitude, and starts selling his works himself from his estate in Den Ilp. The art world can no longer take him seriously, but he gains fame in the world of show business and tabloid gossip.
www.ftn-books.com has many Heyboer publications still available.
