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Holland in Vorm 1987

I remember it well. It was the first time i met with Jan van Capellen, the responsible person who had the same  function at the Boymans van Beuningen Museum as i had with the Gemeentemuseum at that time and we carried box after box with one of the heaviest catalogues ever produced by the combined (important) dutch museums. Within the project the Stedelijk Museum, Haags Gemeentemuseum, Arnhem Gemeentemuseum, Museum Boymans van Beuningen and Centraal Museum Utrecht all participated and all had a different approach and subject on dutch design. The overall design of posters and catalogues was executed by Anthon Beeke and Swip Stolk. Unfortunately the catalogue was at that time not the success the museums had hoped it would be , but now…. over 30 years later, it is a sought after collectable catalogue. One that inspires and was at the start of the dutch design mouvement which is now collected all over the world. Catalogue and exhibition posters are available at www.ftn-books.com

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Isabella Rozendaal (1987)

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A young dutch photographer, who deserves her exhibition at the Fotomuseum Den Haag is Isabella Rozendaal. She has gathered fame with her animal projects, but her other subjects result in excellent photographs too. The Fotomuseum Den Haag shows a selection of her best photographs from the 9th of feb 2019- 12th of May 2019

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An important exhibition at the Fotomuseum which can be combined with the Erwin Olaf exhibition at the same location orgqanized by the Gemeentemuseum Den Haag.

www.ftn-books.com has the completely sold out publication “on loving animals” available.rozendaal

 

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Piet Dirkx…van Abbemuseum , 1985( continued)

This week i am making up for an incomplete blog . I just noticed that to make the story on last weeks blog complete i had to add the photographs of the inner sides of both objects which were on show in the Piet Dirkx exhibition at the van Abbemuseum in 1985. Pier had indicated on the inside of both boxes in what way both had to be combined and showed. So to make the story complete here are both insides.

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Isamu Noguchi (1904-1988)

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One of the greatest sculptors from last century for me is Isamu Noguchi. The reason is simple i have been living for half of my life with designs of Noguchi around me. I have sold lamps and stools by the artist and in our own home a stool is ever present in our interior. The sculptures are different . In many cases executed on a scale to large to place inside and nowadays far too expensive for almost all. But sometimes you can exprience the quality of Noguchi as a sculptor in a simple publication. This is the case with the Pace Wildenstein publications which has al the qualities you are looking for in a Noguchi work. enjoy the photo’s. Publication is available at www.ftn-books.com

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Here is the text on the artist from THE ART STORY

Isamu Noguchi, a major American and Japanese sculptor and designer, spent over six decades creating abstract works – largely in stone – based on both organic and geometric forms. Greatly inspired by traditional Japanese art, as well as by the biomorphic style of some Surrealist art, Noguchi became internationally known both for his artwork and his publicly accessible furniture and architecture. His ultimate objective, to create and enhance public spaces through sculpture, provided his career with a distinct direction and established him as a critical figure in the worlds of post-war art, architecture and design.

The overarching concept informing Noguchi’s work was his passionate, career-long desire to create art the public could use in a social space. He realized this goal in myriad ways: mass produced furniture and lamps; theatrical set designs; public projects such as gardens, playgrounds and fountains; and sculptural manipulations of the natural landscape.
Noguchi wanted to call attention to the dichotomies inherent in much of his work: he merged geometric and organic forms, found value in both positive and negative space, and created works that challenged the boundaries of design and art. He also integrated the materials and art forms of both his Japanese and American heritages into his innovative creations.
Noguchi was socially and artistically connected to Abstract Expressionism, as evident not only in his large-scale works evoking abstracted forms but also in his friendships with Arshile Gorky and Willem de Kooning. Yet, his sculpture retained a distinct sensibility in its use of natural materials and its distinct blend of Surrealist and Japanese influence.
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Alfonso Hüppi (1934)

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German artist who has made a name in Modern Art, but outside Germany he is less known. A typical German artist and one which was/is both admired by Rudi Fuchs and Ad Petersen . He was raised in Switzerland , but educated in Germany. In 1977 he was in vited to be a participant within the Documenta/ Kassel, but before that date he had had his one man shows in Germany already. One of the earliest shows and catalogues, the Kunsthalle Baden-Baden one,  is aviilable at www.ftn-books.com and it shows the truly modern abstract approach in his art.. It presents itself as a real artist book and is a rare collectible art publication.

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Alfons Huppi was represented by the very best galleries at the moment imaginable. the galerie Denise Rene/ Paris and Hans Mayer brought the artist from the very first beginning and was lucky to find the spectacular invitation fior the Falttucher exhibition encloded in one of the catalogues that i bought and which is available at www.ftn-books.com

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Rene Burri ( 1933-2014)

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The world renowned Magnum photographer René Burri (born in 1933), whose legendary portrait of Che Guevara has been a photographic icon for many years, caught a number of important artists of the 20th century through his lens. The great photographer also realised numerous individual portraits and reportages on his friend Jean Tinguely and his work between 1967 and 1991. Camera in hand, Burri observes the artist at work in his atelier “Le Cheval Blanc” at Soisy-sur-École and during construction of the monumental sculpture “Le Cyclop”, literally peering over his shoulder. In the photographic series showing Tinguely installing his works at the World Exhibition in Montreal, in Basel or in Venice, the photographer manages to capture the artist’s spontaneity and essence – his fascination with movement – in almost cinematographic shoots. He was recognized as one of the true great photographers of the 20th century and in his birthland  Switzerland numerous exhibitions were organized with the photographs of Burri. Among them , arguably the best exhibitions at the Tinguely museum in Basel, where the series on Tinguely were exhibited.

The exhibition poster for the Tinguely exhibition is available at www.ftn-books.com

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Kenneth Martin /1905-1984 ( continued )

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Without realizing it, i managed to collect over the years a very nice collection of small publications by Kenneth Martin and the latest additions come from a library from a world famous curator. It shows that Kenneth Martin is important for the future and his art deserves to be known worldwide. His works are original and belong to the best that was produced in the UK during the Sixties and Seventies. All these small and in many cases rare publications are available at www.ftn-books.com

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Lubov Popova (1889-1924) … pure Russian Avant Garde

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She only had a short career in art, but for me Popova is one of the most authentic of all Russian Avant Garde artists. Painter, sculptor, designer and costume designer she is multi disciplined , but personally i think the most attractive of all her art is her “Spatial force constructions” . (The Adler catalogue with these works is available through www.ftn-books.com) In theseworks she shines and if you look closely you will find parallels with Morellet and his art and they look far more contemporary than het her other constructivist paintings.

left Popova and on the right Morellet

Popova was born into a wealthy family of Moscow factory owners, which secured her a quality art education. After studying in the studios of Stanislav Zhukovsky and Konstantin Yuon in Moscow from 1907 to 1909, she traveled to Italy, where she was strongly drawn to the monumental art of the early Renaissance. She then traveled to Pskov and Novgorod to study iconography. In 1912 Popova met some of the leading masters of the Moscow avant-garde gathered around Vladimir Tatlin, and for some time she worked at his studio, together with Nadezhda Udaltsova, with whom she was to develop a close friendship, and Aleksandr Vesnin (see Vesnin brothers). Popova, Udaltsova, and Vesnin developed close creative and personal friendships and love that would last throughout Popova’s short lifetime. During this period Popova visited Sergey Shchukin’s renowned collection of French art and, drawn to Cubism, traveled to Paris with Udaltsova. The Académie de la Palette, where Popova and Udaltsova studied Cubism with Henri Le Fauconnier and Jean Metzinger, was to prove a crucial step in Popova’s artistic development.

After another trip to France and Italy in 1914, Popova returned to Moscow as a full-fledged artist, her predilection and interest now centring on Art Nouveau. She organized “weekly gatherings on art” at her house, which attracted the forerunners of the Moscow artistic avant-garde, and participated in avant-garde exhibitions, such as Jack of Diamonds exhibitions of 1914 and 1916, “0.10” (1915), and “The Store” (1916).

The mid-1910s were a turning point for Popova. After successful experiments in Cubism (such as Composition with Figures, 1913), Popova created a series of “plastic paintings,” such as Jug on Table(1915), in which there is a synthesis of painting and relief work using plaster and tin. In 1916 she joined the Supremus Group founded by Kazimir Malevich. Inspired by Malevich’s ideas about abstraction and Suprematism (an art form he invented), Popova developed an individual variation of nonobjective art in which traditional principles were dynamically combined with the flatness and linearity of medieval Russian art and the most innovative avant-garde techniques. She classified her work, with its rhythmical syntheses of coloured planes, as “Painterly Architectonics.”

Popova’s painting gradually began to evolve into Constructivism; her compositions of the early 1920s bear titles such as Construction and Spatial-Force Construction. Thus, her departure from painting and her turn to “practical art” in 1921 was a logical step in her artistic evolution. During this period Popova connected teaching and theoretical work (at, for example, the Moscow Institute of Artistic Culture) while creatively she moved toward the applied arts, working with textile designs, posters, and book covers. Her most interesting work was in the field of set design. She created innovative Constructivist sets around which the action developed. She worked with the Kamerny Theatre of Aleksandr Tairov and Vsevolod Meyerhold. Popova died at the peak of her artistic powers two days after the death of her son, from whom she had contracted scarlet fever.

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Jean Gorin (1899-1981)

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It took me almost 20 years to first see an actual work by Jean Gorin. I knoe if his great catalogue which was designed by Wim Crouwel for the 1967 Gorin exhibition. But at that time i was far too young to appreciate art in general, but since i took an interest in art, i took an interest in constructivist art and certainly Gorin is one of the great artists when you look and take in consider the reliefs produced by the other artist from his generation.

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He was a French neoplastic painter and constructive sculptor. He was a disciple of Piet Mondrian, and remained true to the concept of rigid geometricism and use of primary colors, but pushed the limits of neoplasticism by introducing circles and diagonals. He was known for his three-dimensional reliefs. His art developed along the same line as the art of Cesar Domela developed , resulting in complex reliefs that are now collected and appreciated worldwide. His appeal is still growing and personally i think his art is far better than the works Cesar Domela produced in the same period of his life.

I have to devote some special text on this publication, since the Crouwel designed catalogue is very special. It has the typical 60’s Crouwel dimensions, but what makes this one special is the embossed /relief printed cober, making this one, one of the very special Stedelijk Museum 60’s catalogues. Other titles are available too at www.ftn-books.com

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Eduardo Arroyo (1937)

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A grand old spanish Master in painting is Eduardo Arroyo. His style is highly authentic and recognizable and although the main part of his oeuvre is to be found in Spain his art is appreciated all over the world. Arroyo has created an ARROYO world in which style in combination with persons make a composition which at a glance looks almost abstract, but which is filled with realistic elements.

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These Arroyo worlds are best admired in the large museums in Spain ( the Sofia Museum has a nice collection of them), but for those who do not have the opportunity to visit Madrid, there is always www.ftn-books.com

ww.ftn-books.com has some nice publications available on Arroyo

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