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Aline Thomassen (1964)

To my knowledge there are only 4 larger publications on Aline Thomassen

  • Mieren rennen onder mijn huid, Maurits van der Laar , 1999
  • The ideal Muslim woman, GEM, 2005
  • Corps fertiles, 2011
  • Cherchez la Femme, Bonnefanten museum, 2014.

It looks as only every 3 or 4 years a larger publication by Aline Thomassen is published

Her subjects in most of her paintings is the female figure and the powers that drive the women in the paintings/watercolors. These woman are unpolished, beautiful and at the same time vulnarable, but also in practically all works they look extremely strong.

The woman depicted are Moroccan woman and perhaps this is why these works intrigue so much. You know the subject looks different, the figure is not familiar nor is their pose. This makes the composition not like the ones of many of Thomassen her contemporaries. In this way Aline Thomassen her works have a signature of their own. Highly recognizable because of the use of her subjects, underlined with arab text and practically in every painting the use of a blood red color which emphasizes, without exception,  the dramatic compositions she realizes in her works.

Aline Thomassen is a great artist.

 

 

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the dutch and het Drinkglas

Look at the Golden age paintings and in many cases a roemer glass is depicted in the painting.

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In later centuries the dutch have become known for their glass designs. Of course there are the glass objects and vases by Meidam and Copier, but i now want to direct your attention to the drinking glasses of Andries Copier . A glass artist/designer who has made one of the most functional and best wine glasses in the world. In the Netherlands this glass is called the Copier GILDE glass and it is stil made by the famous dutch Leerdam glass factory. Schermafbeelding 2019-04-02 om 16.11.18This glass has become a classic over the years and the series has white, red and water glasses. It has become an almost instant classic . From the first days it was made millions and millions of these were sold all over the world. So many of you have a piece of dutch design in their homes without knowing it. A book on HET DRINKGLAS is available at www.ftn-books.com

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Jean Moral (1906-1999)

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In 1925, the same year André Kértész moved from Hungary, Jean Moral began photographing in Paris.  Like Kértész, his photographs exemplified the inherent aesthetic of Modernism, which by the mid 1920s was in full swing.  Moral’s photographs from 1925 to 1940 depict his eye for graphic abstraction and tight composition.  His personal expression is most apparent in his images of Paris, his intimate portraits of his wife, his self-portraits and the more experimental images he made with photograms and double exposure.


During the 1930s, Moral’s work was included in numerous exhibitions with other photographers including Laura Albin-Guillot, Brassaï, Florence Henri, Horst P. Horst, George Hoyningen-Huene, André Kértész, Francois Kollar, Germaine Krull, Dora Maar, Man Ray and Maurice Tabard.

It is hard to find good publications on Moral but there is one i can really recommend. The year of his deat MARVAL editions published a beautiful monograph on this classic french photographer . The book is available at www.ftn-books.com

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Julia Ventura (1952)

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Portuguese born, but working in both Lisbon and Amsterdam her works reflect her surroundings. There was a time in the mid Eighties that her work was widely available in the Netherlands because exhibitions were held at many places in the Netherlands including some renowned museums. But starting in the late Nineties her works were becoming more scarce and less available in the Netherlands. Her focus was no longer on the Netherlands and Portugal alone, but her works were presented in Switzerland, China and Spain too. Later i learned that most of her work is now being sold and available in Portugal itself . Julia Ventura is represented by some well known Portuguese galleries.

In her work, Júlia Ventura explores which role the photo can play in the representation of the self. Her initial work features black and white photos of herself in emotion-filled poses. In later work, in ingenious photos of her fingerprint which she adapts using all kinds of methods and techniques, she focuses on the suggestion of authenticity that emanates from the image.

www.ftn-books.com has one of the first Ventura publications available

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David Redfern (1936-2014)

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David Redfern is best known for his photography of musical performances and musicians.  Here is the biography you can find on his site.

60’s JAZZ

David Redfern’s career began in the twilight jazz clubs of 1960’s London. He risked his one and only camera amongst the jiving teenage crowds. The British Trad boom was under way. His first published photos featured Kenny Ball, Chris Barber, George Melly, and the old Marquee Club.

TV

David began photographing TV Shows like ‘Ready Steady Go’ and ‘Thank Your Lucky Stars’ which were shot during the day. Here he made many of his now classic shots of the Beatles, the Rolling Stones and Dusty Springfield.

CLUB NIGHTS

Nights were spent at the 100 Club, Ronnie Scott’s or the Marquee, where he captured on film all the jazz greats from Miles Davis to Ella Fitzgerald.

US DAYS

These pictures were to contribute to what is now the most comprehensive jazz collection in Europe. To break into the commercial world by chasing the big American names, David became a regular visitor to the Jazz festivals in Newport, Antibes and Montreux, and the big rock festivals, photographing such greats as Hendrix and Dylan.

FIRST BOOK

By the 1970’s David had firmly established his name as one of the top music photographers in the business. In 1980 Pete Townsend’s Eel Pie Company published David Redfern’s Jazz Album. Lavishly illustrated with many of David’s finest jazz photographs, it was highly acclaimed by critics and public alike. In the same year, at Frank Sinatras request, David stepped into Terry O’Neill’s shoes as official tour photographer.

EXHIBITIONS

In the late ’80s several exhibitions featured the first 25 years:

  • He showed his work along with Lord Lichfield and Lord Snowdon at the Kodak and Royal Photographic Society’s ‘Living Body’ exhibition. Based on the Channel 4 TV series, it was one of the biggest exhibitions ever held by Kodak.
  • In 1990 he was invited to put on an exhibition in Cuba to coincide with the Jazz Festival there.

NOTTING HILL

At the beginning of 1989 David moved his music picture library REDFERNS to new premises in West London, a location now much favoured by the British music industry. The library expanded rapidly. Covering over 26,000 different artists and styles from every musical genre, and representing some 500 photographers and collections, it became the most comprehensive music picture library in the world, with over 205,000 items online.

Redfern is without a doubt a great photographer, artistically he is not the greatest of all his contemporaries, but his photographs are a historical document and must be admired by all who love music. Deavid Redfern books can be found at www.ftn-books.com

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Joseph Semah (1948)

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Joseph Semah is an israel/dutch artist who has been working the main part of his artistic life in the Netherlands. His works can be found in the Stedelijk Museum collection.

Artist Joseph Sassoon Semah was born in Baghdad (Iraq), where his grandfather Hacham Sassoon Kadoori (1885-1971) was the President of the Babylonian Jewish community. With his parents Joseph Semah was ’displaced’ to the State of Israel in 1950. In the mid-1970s Semah decided to leave Israel, describing this as a form of self-imposed exile. He lived and worked in London, Berlin and Paris. Since 1981 he has resided in Amsterdam. He regards himself as a ‘guest’ in the Western (art) world.

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Reading into works of art using his native-language Hebrew as the framework, Semah signals a lack of knowledge about Judaism. He believes Jewish layers of meaning are not given enough attention in art history and feels compelled to rectify this: to fill the ‘empty page’. His extensive oeuvre consists of drawings, paintings, sculptures, installations, performances and texts.

www.ftn-books.com has some nice Semah titles available

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Guillaume Bijl (1946)

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The first Guillaume Bijl installation/exhibition i visited was the Guillaume bIjl installation he had made for the Witte de With venue in Rotterdam. It was the opening exhibition in 1990 for which Bijl had made . It was Für Garderobe keine Haftung .

In light of the newly created exhibition space at Witte de With, Bijl’s show could be seen as a critique of the spectacular and inflationary nature of fine art production as well as an ironical poke at the profusion of exhibitions and exhibition spaces. Guillaume Bijl’s exhibition at Witte de With presented a survey of his installations and objects from the eighties, in the form of a shopping mall.

Guillaume Bijl (1946) has been testing the relationship between art and consumer society since 1979, when he made his Art Liquidation Project. This work took the form of a mock government commissioned report in which he concluded that, in light of the proven uselessness of art, all areas devoted to the arts should be made suitable for more practical purposes. Since then, Bijl has been transforming museums and art galleries into fitness centers, lamp shops, carpet stores, travel agencies, driving schools, and so on. His imitations of spaces not traditionally associated with the arts are caught up in a perplexing interplay between fiction and reality. Even more confusion is caused by Bijl’s imitations of art spaces, such as his fictive exhibition Four American Artists (1987), or his fictive commercial fair installed at the art fair of Lyon in 1986, which also included an art store selling his paintings.

Bijl ironically points out the connection between the display of goods in shop windows and showrooms and the exhibition of objects in museums and galleries. In his installations, consumer items and museum objects seem interchangeable. Bijl’s logic assumes the complete abolition of real differences in the commercial rhetoric of consumer society.

www.ftn-books.com has some nice Guillaume Bijl publications available.

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Lettering by Modern Artists

The above title is the same title as the exhibition held at the Museum of Modern Art in 1966. I recently acquired this catalogue which is now for sale at www.ftn-books.com and for me it makes clear the importance Modern Artists have for Modern typography. this is not the printed letter, but the much more free and personal lettering by artists on paper and canvas, making this a source of inspiration for modern typographers and designers and it shows clearly the way lettering can be used to make a splendid composition and be informative at the same time. A catalogue i can truly recommend.

lettering

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André van der Vossen (1893-1963)

 

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A typical dutch abstract artist who was inspired by many of his great contemporaries. Autodidact he now has a nice following of admireres in the netherland who collect his work. You can recognize influences of Matisse, Miro and Calder in his works, specially when he uses torn papers to make his compositions. Compositions which are constructivist on first sight , but study them more closely they become far more loose and less rigid then the constructivist compositions of these times. I personally like his work very much and it is still very affordable to collect. Pollock and Soulages can be recognized within some of his compositions too, but with a very large difference. …..These works are sold at 1/10000 of their price levels.

Andre van der Vossen worked as a teacher at the Dienst Esthetische Vormgeving PTT and Joh, Enschede as a graphic designer and was member of Vrij Beelden, Creatie (Co-founder), de Salon des Réalités Nouvelles in Parijs and with Liga Nieuwe Beelden.

www.ftn-books.com has a nice publication available at www.ftn-books.com

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Marcel Mariën (1920–1993)

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Marcel Mariën was a Belgian artist, he was born in 1920 in Antwerp and died in 1993 in Brussels. During his childhood, Marcel Mariën faced big difficulties at school since he attended a school where the classes were imparted in Flemish. When he turned 15, he joined, as an apprentice, the atelier of a photographer who taught him all the foundations of photography. He joined in parallel the Superior Popular School for the workers, which led him to discover Rene Magritte’s work. A year later, he became interested in Surrealist paintings and started to write poetry. In 1937, Marcel Mariën went to Brussels to met Rene Magritte, Paul Colinet, Louis Scutenaire, Irene Hamoir and Paul Nouge. He participated for the first time in a Surrealist group exhibition, where he exposed his first object “l’Introuvable” that he created from his own broken glasses. On his return from his military service, he worked in the collective invention of Magritte and Ubac. During the war, Marcel Mariën helped healing the wounded, and then left to Dunkirk and Berck where he was taken prisoner. He was then sent to the concentration camp of Gorlitz until 1941. On his return to Brussels, he met Christian Dotremont and his wife Elisabeth. He founded the Editions “l’Aiguille Aimantee” and published several books. He participated with Scrutenaire and Nouge in the creation of the titles of Magritte’s books. In the beginning of the 40s,he made several trips to Paris, illegally transporting paintings by famous painters such as Picasso, Leger, Chirico and Renoir. Marcel published several books including the first biography of Magritte and participated in conferences about surrealism. In 1948, He settled in Brussels and lived from the profit of his books and from typing works, later on he started working on the “Silver Ocean” cargo sailing from Normandy to the French West Indies. Marcel Mariën met his wife Jane Graverol during Magritte’s first exhibition and with her he founded a communist newspaper they called ” Les Levres Nues”. Despite various deceptions, he managed to create several films including the movie “L’Imitation du Cinema” with Tom Gutt. In 1963, Marcel Mariën left to the United States.Where he worked multiple jobs.The following year, he left to Japan and then Hong Kong. He worked several months in Beijing as a proofreader of the propaganda Newspaper “China under construction” before leaving again to Europe in 1965. He came back to Belgium and published several text of Paul Nouge and Magritte. In 1967, Marcel Mariën exhibited his first collages and some objects. In 1973, he had to go in front of the justice for his past collaboration with the Nazis having participated in the creation of Leon Degrelle’s journal, but he was found innocent. In 1979, Marcel Mariën published a reference book about the history of surrealism in France. He published as well the correspondence of Scutenaire.

(the text above comes from Artsper)

www.ftn-books.com has some Marien titles available

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