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Elly Strik (1961)

Elly Strick lives and works in Brussels and started teaching at the age of 25. She herself studied at the Academy in Groningen and at the Academy in Minerva and Jan van Eyck in Maastricht.
She specializes in working on paper and uses mainly materials such as graphite, pigments and oil paints, but she also uses wood stove ash and silver and gold leaf to achieve proper alchemy. increase. For them, the potential for transformation underlies our existence. Her exploration of human nature combines a visual language that is both poetic and radical. Ellie Strick held a solo exhibition at MHKA in Antwerp (B, 1999). De Pont, Tilburg (Netherlands, 2006). Van Abbe Museum, Eindhoven (Netherlands, 2006). Mainz Museum (Germany, 2012). Reina Sofia National Museum in Madrid (Spain, 2014) and 1700 La Poste, Montreal (California, 2018).
Her work has won the Philip Her Morris Award, the Charlotte Koehler Award and the Jeanne Austing Award. has some very interesting Elly Strik titles available.

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Kurt Löb (1926-2015

Kurt Löb

If i must choose one of the best illustrators working from the Netherlands in the last century it would be Kurt Löb.

Born in Germany he fled to the Netherlands and build a career in illustrating books, magazine and at the same time produced many great paintings and drawings. The style “fin du siecle” with loose abstract elements. He must have been influenced by Austrian Art from the 1900’s , but in his career he definitely created a style of his own. These drawings belong to the very best dutch/ german illustrators. has  a nice signed copy of the Löb / Bild + Buch publication available.

Signed Bild + Buch
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Joan Marti (1922-2002)

Joan Marti was a Spanish-Belgian artist born in Reus (Spain) in 1922 and died in Sint-Gillis/Brussels in 2002. He was also a painter and graphic artist. His parents fled Spain because of the civil war and settled in Belgium with his then 13-year-old son around 1936. During her four years she attended evening courses at the Academy in Sint Gillis, Brussels. A mechanic and tailor by trade, his work often includes elements of mechanics. His references to machines show a very poignant sense of humor, but also a certain pity for those who are unknowingly at the mercy of industrial technology. His work exudes fantasy and symbolism, but is often poetic. First exhibited around 1950, from 1970 he exhibited regularly at the Galerie Isy Brachot. Was a member of the circle Jecta in Brussels. Signed by the Belgian artist of BAS II and Two Centuries. has now the ISY BARCHOT /1987 catalog available.

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Armodio (1938)

Armodio (real name Vilmore Cernardi) was born in Piacenza in 1938. His training was based not on attending the “Gazzola” art school in his city, but on meeting the painter Luciano Spazzari. His studio was a convenient place to experiment and get to know each other. Here he met his first teacher and later traveling companion, the painter Gustavo Foppiani. The two worked together, later joined by painter Carlo Berte, and shared a studio until 1980. Thus, a free grouping was born. This grouping is inspired by a curiosity about the most diverse manifestations of culture, a desire to interpret reality based on sarcasm, and a penchant for playful transgressions. His first solo exhibition in Piacenza was in 1963 at Genocchi his gallery in Piacenza, and in 1964 the Roman Obelisk appeared in the gallery thanks to Foppiani. In the 1960s, the painter spent a short time in London, collaborating with the American Lily Shepley, and later with Galeria Forni in Bologna. In 1972 he met Philippe Guimeot, opened his own gallery for artists in Brussels and a fruitful collaboration began. From that moment on, most of his paintings were in important private collections in Europe and the United States. Galleria Jean in Milan After his stint at Ferrari, Armodio comes to Piacenza’s Galleria Braga. After this experience, he worked first in Arezzo’s Galleria Lin Margin only, then in Bologna’s Galleria He Marescalchi. His work is now exhibited in major galleries in Italy and abroad. has the 1981/ GUIMIOT catalog now available

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Bernard Schultze (1915-2005)

Bernard Schultze was a German artist, considered part of the informal movement, a group of artists who placed great importance on intuition and the subconscious in the creation of art. In 1952 Karl He founded the artist collective Quadriga together with Otto Goetz and others, making informal art famous in Germany.
Schultz’s work is associative, expressive, and colorful, and poses strange questions to me as a viewer. Flipping through his monograph, Bright Breath, Sparkling Wind, we discover wonderful paintings, watercolours, and drawings, but also incredibly ugly paintings that leave an impression because they are completely formless. The photo was taken by a mentally handicapped person during a writing class, while the image on the other side is clearly of the same man.
Schulze lived from 1915 to 2005. Since Schulze was born in 2015, 100 years before him, a major retrospective exhibition has been held in Cologne, and several excellent books have been published, including this fascinating book which gives an excellent overview of his work. Published. Many of his paintings are truly breathtaking, his drawings are sophisticated and beautiful, but his papier-mache images continue to amaze me with their fantastical forms. Even if the same whimsical figures appear in the painting, it is still strange that they do not mind being there. This keeps the piece attractive. has several Schultze titles available

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Roger Decaux (1919-1995)

Writer and educator, Roger Decaux is educated in art history and philosophy. He was a teacher, a journalist in the field of art and philosophy, and an art critic. He lived long in Paris, where he interacted with many artists, participated in art and philosophy programs and magazines, taught art history, and hosted workshops. He was very close to the painter Gino Severini. But what most shaped his life was his ability to unleash his open and cultivated mind to creativity. Winner of numerous prizes: Galilee Prize, Stanislas Academy Prize in Nancy and Trio Prize from the Belgian Ministry of Culture, he has translated into his work an enlightened and corrosive vision of our society. Its notoriety goes far beyond the national framework. If we can see his works in museums in France: museums of Nancy and Saint-Dié where a room is dedicated to him, he is also in many museums abroad: museums of Berlin, Amsterdam, Antwerp, from Indiana in the United States. He also produced frescoes for the church of Neuchatel in Switzerland and for the Faculty of Letters in Mexico City. His works have been exhibited all over the world: Lyon, Paris, Menton, Metz, Aix-en-Provence, Limoges, Troyes, Strasbourg, Gothenburg, Munich, Venice, Karlsruhe, Du00fcsseldorf, Brussels, Amsterdam, Geneva , Montreal, Tokyo, New York, San Francisco, Miami, Ghent, Pittsburgh, Indiana, Rennes, Rouen, Lille, Le Touquet. has the galerie Carlier catalog now available.

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Tom Claassen (1964)

Tom Claassen (1964, The Netherlands) is best known in the art scene as well as among the general public for his works created for the public arena. Klaasen’s work often traverses the boundaries of culture and nature, firmly rooted in the sculptural tradition, but with a unique, playful and personal touch. Soft, rounded shapes often invite caresses, but this proves to be deceptive. Because the material that looks so soft and friendly is actually bronze. Similarly, sculptures that appear hard and unattractive to the touch are actually made of rubber. artistic background

Claassen studied at the St. Joost Academy of Fine Arts in the Netherlands and was awarded the “PRIX DE ROME” in 1992. Claassen’s work is in the collections of the Stedelijk Museum Amsterdam, the Kroller-Muller Museum in Otterlo (both in the Netherlands), the FRAC Franche-Comte Museum in Besançon, France, and the Gateway Foundation in St. Louis, USA. has the 2009 Tom Claassen book now available

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Jan Stekelenburg (1922-1977)

Jan Stekelenburg belonged to the first postwar group of abstract painters in our country. Born in Masbree in 1922, he studied at the Rijksacademie in Amsterdam from 1947. There he joined a group of painters who wanted to challenge traditional art through abstraction and experimentation. Around 1955, Stekelenburg became a member of the LIGA NIEUW BEELDEN, an artists’ association in which most of the modernist artists of the time joined, as well as former Cobra he members. Museums: Central Museum in Utrecht, Stedelijk Museum in Eindhoven, has the Kunsthandel Rueb publication available.

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Han Bennink (1942)

Han Bennink (born 17 April 1942) is a Dutch drummer and percussionist. He occasionally played soprano saxophone, bass clarinet, trombone, violin, banjo and piano on recordings.

Bennink is perhaps best known as one of the central figures of early European free jazz and free improvisation, but he has worked in virtually every jazz genre and has been described by critic Chris Kelsey. “Unfortunately, one of the rare musicians whose skills and qualities…”Interests span the whole spectrum of jazz.” Bennink is known to often imbue his playing with slapstick and absurd humor. He forged particularly fruitful and long-term partnerships with pianist Mischa Mengelberg and saxophonist Peter Brotzmann. Han is the brother of saxophonist Peter Bennink.
 Han Bennink hosted in 2011 a small exhibition in his house in de RIJP. This leporello is now available at www,

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Joncquil (1973)

Jonquil’s work is difficult to understand. It shows us common situations and features of the world, but it seems more strange than familiar. He says of himself, of his own paintings: “Usually it happens outside of our field of vision. It tells stories of everyday life as we are stunned by a reality that we are largely unaware of. I paint the moment between the question and the answer.I see motifs as a collection of planes, planes, lines, colors and angles that together take a recognizable form and give meaning. I understand and rethink their value and necessity, reconstructing these areas of light and darkness to represent the moment when form takes on content.
These images appear as physical results of searching for mundane, everyday situations that can reveal universal truths. How to make the invisible visible and the mundane eternal. The final result is not a fait accompli and leaves interpretation to the viewer. Exploration is not only in the choice of topic, but also in the choice of technology. From an early age, the artist was inspired by photography, especially chemical processes in the darkroom.
His influence can still be seen clearly in the almost cinematic light that falls on his paintings, and in the reversal from slide to slide to his negatives and vice versa. This meeting of the color spectrum appears to form a self-contained palette that reinforces the vibrations of form and meaning in the painting. Just as many early 20th-century painters used photography to capture, replicate, and equalize reality, Yonkil uses his paintings to express the truth within himself, and to bring us closer together. I chose to paint from the heart to reveal the reality inside. has the galerie Ramakers AH UM book now available.