van Gogh drawing discovered…big news?

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Yesterday it was announded and confirmed that a newly discovered van Gogh drawing from the Fentener van Vlissingen collection is an authentic van Gogh. In such a case i really wonder if the drawing is considered important because as the vanGogh museum says …it is a missing link…or is it beautiful and valuable. Valuable it certainly is now with its authentication, but beautiful?   i do not think so…. it is a study and beside the depicted windmills i do not find it appealing at all. For instance compare the studies of Jongkind, his contemporary artist which all shine in these little formats.  A new van Gogh discovered is nice, but the way it now is presented as one of the art discoveries of this decade is undeserved. Here is the article from the van Gogh Museum on this sketch and for really great books on Van Gogh please visit www.ftn-books.com

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AMSTERDAM — The Van Gogh Museum here on Tuesday announced the discovery of a previously unknown drawing by Vincent van Gogh, which the museum said was completed about a month after the Dutch post-Impressionist artist arrived in Paris in 1886. The museum’s researchers studied the style and history of “The Hill of Montmartre with Stone Quarry,” dated March 1886, and found documents they said confirm that it is a lost van Gogh.

“It’s a big day today,” said Teio Meedendorp, a senior researcher at the Van Gogh Museum who studied the subject, style, technique, materials and provenance of the drawing, and found the relevant documentary evidence to support the attribution.

The museum owns the largest collection of van Gogh’s works anywhere in the world, including more than half of the artist’s drawn oeuvre — approximately 500 drawings as well as his sketchbooks.

“It’s a nice robust drawing by Vincent and he captured the hill of Montmartre very well,” Mr. Meedendorp said.

Mr. Meedendorp said that the drawing is particularly interesting because it is more in keeping with van Gogh’s earlier style than his later work when he lived in Paris. He added that the drawing shows that van Gogh’s work evolved during his crucial years in the French capital from a formal style that he learned at the art academy in Antwerp just before arriving in Paris, and became increasingly experimental.

“It’s a kind of stylistic missing link between his Belgium and Paris time,” said Fred Leeman, an independent van Gogh expert and curator of exhibitions by the artist, who is a consultant to the Van Vlissingen Foundation, which currently owns the drawing.

The last time a new van Gogh drawing was discovered was in 2012. A year later, a new van Gogh painting, “Sunset at Montmajour” (1888), was also found. But these findings are relatively rare. Since the publication of the complete catalog of van Gogh’s works in 1970, another nine drawings and seven paintings have been added, Mr. Meedendorp said.

When it came to the Van Gogh Museum for research in 2012, the drawing was owned by an American private collector whose Dutch relatives had purchased the work from a gallery in the Netherlands in 1917, Mr. Meedendorp explained. But the museum did not publicize the finding at the time, at the request of the previous owner.

Aside from Mr. Leeman, no other experts outside the museum have yet seen the drawing.

Research by the Van Gogh Museum in Amsterdam, the world’s leading expertise center on the artist, found that “The Hill of Montmartre with Stone Quarry” came into the hands of van Gogh’s sister-in-law, Johanna van Gogh-Bonger, a meticulous keeper of van Gogh’s materials, who numbered it “123” in her inventory.

Mr. Meedendorf said that when he took the drawing out of its frame, he found the telltale number, “123,” written on the back.  

The discovery of “The Hill of Montmartre with Stone Quarry” led the Van Gogh Museum to reconsider another drawing that it had in its collection, which had been part of the original donation from the van Gogh family heirs. That drawing, titled “The Hill of Montmartre,” also completed in 1886, is drawn from a very similar perspective of the Parisian hilltop.

This drawing was originally thought to be by van Gogh, but in 2001, it was questioned because it was so dissimilar to work from his Paris period, and then discredited.

“Now that you have a set of two, it’s clear that it was a style he maintained during the first part of his time in Paris,” said Mr. Leeman.

By comparing these two drawings side-by-side, researchers realized that the works were incredibly similar, and both were attributed to van Gogh.

“It’s the same materials, the same paper, it’s quite clear that these were both done by the same hand at almost the same time,” said Mr. Meedendorp.

“One thing led to another,” he added. “If this was a van Gogh drawing then the other one had to be one as well.”

Ossip for sale … IN TEN NATISIMO ! / 2007

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Today added item no. 3 to FTN art. It is the statue by Ossip from 2007

In Ten Natisimo!

PLease take a look at this typical Ossip work.

Bernd and Hilla Becher- Furnaces

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It must have been about 15 years ago that my father asked me if i had an idea for a Christmas present and because i knew of a book i could order with a 40% discount i told him that i wanted a special publication by Bernd and Hilla Becher / Hochofen. Published by Schirmer Mosel in 2002 in an edition of only 100 copies containing a beautiful original photograph of a row of Furnaces.

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These industrial scenes are typical for the Bechers and because of these scenes of Industrial complexes and lonely rural buildings. their photography is highly recognizable. The photograph i own is one of the most cherished works i have in my collection. It is not the value which makes it special , but the idea that it was one of the last gifts my father gave me. Since i have been collecting Becher items and one of the best i found was a poster , published by the Josef Albers Museum in 2010 and available at www.ftn-books.com

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Gotthard Graubner (1930-2013)

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I can not describe the qualities of Graubner better than the text on Wikipedia i found on this fascinating German artist.

Graubner’s art is characterised by his unique philosophy and the use of color in his work. He began developing his own style in 1959, while he studied under K.O. Götz. Before that, Graubner’s work had been characterised by using color sparingly, in shapes and on the edges of the canvas, but, from 1955 onwards, he had already experimented with different approaches towards color, at first with watercolor and later on canvas. Instead of focusing on shapes, he began to use color lavishly.

About 1960, the artist produced flat panel paintings with surfaces built up of differentiated nebulous color formations, the application of color in layers of varying degrees of transparency opening up the picture surface, producing a color formation of indefinite depth comparable to the paintings of Mark Rothko.

In the 1960s, Graubner mounted picture-size colored cushions onto his paintings and used Perlon fabric in an attempt to enhance the spatial effect of color surfaces. These works were displayed in Alfred Schmela’s gallery in Düsseldorf.

Between 1968 and 1972 he did what he called “Nebelräume” [“Fog Spaces”].

Graubner never allowed his style to be dictated by the current fashions or trends. He developed his own style of using color as the medium through which his work announced itself, allowing it to work independently of any connection to any kind of representation or theme. According to Helga Meister, his works have sensibility, feeling and meditative force.[50]However, his paintings are only at first glance monochrome; as a closer look reveals, they are in fact polychrome. They “breathe”; they live; their colors, even though fixed on canvas, have movement that stirs the imagination as much as his “fog-spaces” of the sixties, in which he continued the romantic tradition of Caspar David Friedrich. Moreover, his “color-space bodies” (“Farbraumkörper”) have been described by art historian Max Imdahl as “picture-objects” in which “color-space and body, intangible vision and tangible facticity cooperate in a special interrelationship.”

The following titles are available at www.ftn-books.com