Born in Amsterdam, Netherlands in 1954, Peter Wortel has always possessed a remarkable talent for conveying his thoughts and ideas through vivid images and illustrations rather than relying on spoken or written words.
Having pursued his education at both the Rietveld Academy in Amsterdam and the Academy Minerva in Groningen, Wortel’s artistic endeavors primarily revolve around the exploration of various themes such as Judaism, architecture, cities, and industry.
His fascination lies in the intricate world of architecture, the concept of perspective, the intricacies of man-made constructions, and the inherent connection between individuals and these subjects.
Moreover, Judaism holds a significant place in Peter Wortel’s life. Dealing with the challenges brought about by his Jewish upbringing, including experiences of war, the repression of anger, frustration, and pain, his earlier artistic expressions have eventually evolved into a strong desire to delve into the profound beauty encapsulated within Jewish and biblical symbols.
Nussbaum was murdered at Auschwitz at the age of 39. In his remaining works, his early pastoral scenes develop into performances dominated by menace and sadness that emerged during his exile in France and Belgium. An artist once said:
u201cPeople say, even if I perish, please don’t let my picture die.u201d
In accordance with this wish, his artistic legacy is still visible and accessible today. It is on permanent display in his eponymous museum in his hometown of Osnabru00fcck, designed by Daniel Libeskind and opened in 1998. exile
Born into a family of Jewish factory owners, Nussbaum was given the opportunity to develop as a painter. Stylistically, he was initially based on the work of Vincent van Gogh. She later became engaged to Giorgio de Chirico, Henri Rousseau, and Karl Hofer. After traveling to Rome and Paris, she settled in Ostend and then in Brussels. Nussbaum was arrested by Belgian authorities in 1940 because of her German nationality, and she was interned in southern France. He managed to escape and hide in German-occupied Brussels. Shortly before his release, he was arrested and later murdered at Auschwitz. The exhibition u201cFelix Nussbaum u2013 Artist in Exileu201d will be held to coincide with the laying of the first Stolperstein in Zwolle on April 6, 2014. Stolpersteine u200bu200bis the idea of u200bu200bGerman artist Gu00fcnter Demnig. The stone is placed in front of the door of a civilian deported during World War II. Thousands of these stones have already been installed in Germany and can also be found in countries such as Austria, Hungary and the Czech Republic. The Netherlands also has many of these obstacles, called “STRUIKELSTENEN”
Wim Schuhmacher (1894-1986) was given the nickname the Master of Gray. He is often mentioned in the same breath as neorealists such as Raoul Hynckes and Carel Willink. His work can also appear otherworldly, but seems lighter in atmosphere, serene, and less ominous. As a self-taught painter, Schuhmacher took pride in his flawless technique, with no visible brush strokes. Using ochres, he enlivened gray tones to subtly evoke a fragile sense of life. The application of this unique silver-grey veil felt like a discovery and triumph, he later explained. It also earned Schuhmacher his nickname the Master of Gray. While he traveled extensively in Southern Europe, he did not seek out flourishing landscapes or picturesque villages bathed in Mediterranean sun. It was in the Italian town of San Gimignano that Schuhmacher perfected his faded world, where the light seems to come from everywhere and nowhere at once. Like other neorealists after World War II, appreciation for Schuhmacher’s work waned in favor of abstract, expressive art. However, when he was asked by the Gemeentemuseum Arnhem in 1960 to participate in the first major exhibition with his fellow predecessors, Schuhmacher declined. The war had driven a wedge between certain “old masters.” He refused to hang in the same exhibition as Pyke Koch, who had been on the “wrong” side.
ainter,draftsmanandgraphicartist Hans Ebeling Koning (born 1931 in Bilthoven) studiedatthe A.K.I (Artez) in Enschede from 1952 to 1956. From 1960 untilhis1987,heworkedasadrawingandpaintingteacheratthisacademy. In the1960s, Ebeling createdworkthatCorningreferencedthePopArtmovement.Hewastheninspiredbythe concept ofzeromotion.Hisworkconsistsofavarietyofmediums,includingpenandinkdrawings,gouacheonpaper,oilpaintingsoncanvas,andscreenprints.Hisworkhasreceivedvariousacclaim,includingwinningthe SNS Gelderland ArtPrize in 1994. Hisworkhasbeenexhibited in prestigiousmuseumssuchasthe Stedelijk Museum (1976) andtheHeino Museum (2003).
Van Acker creates paintings and drawings that combine attention to detail with a sense of composition. While this alone is not enough to produce quality art, Van Acker’s greatest achievement is to seduce the viewer to study the details and then step back to record the overwhelming totality of the art. The ability to create paintings. At the opening of his exhibition, he was impressed by the sight of people walking up to the paintings and then coming back. It’s clear that Van Acker is a music lover, and it shows in his artwork. Therefore, his eight paintings that make up “Franciscus”, depicting all the birds of the world, were inspired by Olivier Messiaen’s opera “Franciscus”, which in turn was a great influence on this opera. It is not surprising that the catalog says that it has been received. It was caused by the sound of birds. This background information is not necessary to enjoy Van Acker’s work, but it does add something special to his paintings.
Canan Tolon, a resident of Istanbul and San Francisco, is a language graduate with a background in philosophy and literature from the French High School in Istanbul. In 1976, Tolon obtained a design degree from the Edinburgh Napier University. Building upon her educational journey, she pursued her studies in interior design in Germany before completing her interior design degree at the Middlesex University in London. In 1983, she further expanded her knowledge by receiving a graduate degree in architecture at the University of California, Berkeley. Tolon’s impressive body of work has gained recognition through inclusion in various collections and participation in numerous exhibitions both in Turkey and internationally.
The painting process is demystified by the modest artist, who exhibits clarity in his work. The paintings, in terms of style, may shift between the figurative and the abstract realms. During the 1980s, the artist produced grand-scale abstractions, subsequently incorporating female nudes. In recent times, trees and architectural structures have been introduced by the artist, although the subject matter has always been significantly decontextualized through simplification. Herreros’ forms are intricate and distorted in various manners, resulting in harmonious juxtapositions such as supple versus edgy, recognizable versus unfamiliar, and so on. Just as the objects in his paintings undergo alienation, the figures themselves undergo transformation. They are flattened, showcasing vacant expressions and existing in a perpetual state of contemplation. The artwork exudes tranquility, bestowing upon it a metaphysical essence and a timeless allure.
Jean-Robert Ipousteguy, a renowned French painter and sculptor, passed away on February 8, 2006 in Dun-sur-Meuse, his birthplace. Born on January 6, 1920, he adopted Ipousteguy as his artist’s pseudonym in the 1950s, taking his mother’s maiden name. Raised in Lorraine, he made the move to Paris in 1938. Seeking to hone his craft, Ipousteguy attended evening classes at the Robert Lesbo Unit, where he studied painting and drawing. Although he lacked formal academic training, his determination led him to become a self-taught artist, albeit largely underappreciated during his lifetime.
Following World War II, Ipousteguy immersed himself in painting and ventured into designing stained glass windows. In 1947 and 1948, he contributed two frescoes to the embellishment of the Saint-Jacques le Majeur in Montrouge. After relocating to Choisy-le-Roi in 1949, he shifted his focus exclusively towards sculpture, gradually transitioning from abstraction to a more figurative style influenced by surrealism. His talent as a sculptor earned him an invitation to participate in the prestigious Salon de Mai, thanks to the support of Henri-Georges Adam, one of its founding members.
In 1962, Ipousteguy held his first exhibition at the Galerie Claude Bernard in Paris, marking a significant milestone in his artistic career. He went on to showcase his works at Documenta III (1964) and Documenta VI (1977) in Kassel, Germany. Additionally, in 1964, he had the privilege of representing France at the Venice Biennale, where he received accolades for his exceptional artistic contributions. Recognition continued to pour in, as he was appointed Chevalier de la Legion d’Honneur in 1984.
Ipousteguy returned to his hometown of Dun-sur-Meuse in 2004, where he spent the final years of his life. His remarkable artistic journey came to an end in 2006, and he was laid to rest at the Cimetiere Montparnasse in Paris.
www.ftn-books.com has the Vweranneman and other catalogs on the artist now available.
The happiest and almost forgotten slapstick artist from Italy is Benito Jacovitti. He was introduced to the Dutch through his illustrations for the gigantic book Pinocchio, which was available in 1967 with a subscription to Margriet. Many must have enjoyed it since, without realizing that they were face to face with one of the most important Italian comic creators. In 1970 he appeared in the comics magazine Pep with his creation Cocco Bill and soon managed to divide the readers into extreme haters and loyal followers. Apart from Cocco Bill, two other of his comics were also published in Pep. The adventures of the little Indian Chicken Leg and a long adventure of Zorry Kid, a wrought-up parody of the famous TV series Zorro. Jacovitit’s popularity with his fans was so great,
The drawing on the wall here dates from a later period, at the end of his career. In the 1990s he founded a fan club magazine in Italy, in which articles about his work and life alternated with reprints of old work. All that under a newly made cover. This cover of Jacovitti Magazine #4 shows everything that characterizes his work. The rubber figures with the big noses and even bigger feet, the busy composition sloshing against the edges of the picture, the exuberant use of sound effects (onomatopoeia) and the cheerful extras with which he filled every nook and cranny of his artwork. The only thing missing is a salami on bones, one of its absurd features. What you can also tell is the way he worked. Jacovitti always drew very large and he did not make the outline of his figures in one go. Instead, he drew each line twice, then filled in the center with a scratchy ink pen. He then generally did the coloring on the back of the drawing. This was possible because the thick black lines were visible through the paper. Dutch comics creators who claim to be influenced by Jacovitti René Uilenbroek , Mars Geringen and Mark van Herpen .
www.ftn-books.com has the classic PINOKKIO (Pinocchio) by Jacovitti and Collodi now available in Dutch
Artist/ Author: Oliver Boberg
Title : Memorial
Publisher: Oliver Boberg
Measurements: Frame measures 51 x 42 cm. original C print is 35 x 25 cm.
signed by Oliver Boberg in pen and numbered 14/20 from an edition of 20