I know of many artist who at one time in their lives were invited to decorate a church or execute stained windows. In the Netherlands it is Marc Mulders who is the best example. Acroos the border many other names like Matisse, Rothko, Foujita and Chagall and recently i discovered that Robert Combas made his own contribution to this kind of art. The exhibition was held at the Vieille Église Saint-Vincet in Merigmac / France.
Impressive paintings of arguably the best of all Figuration artists. Catalogue is available at www.ftn-books.com.
The French artist Robert Combas has become known as one of the protagonists of “Figuration Libre”, the French form of new figuration in the 1980s. Robert Combas was born at Lyon in 1957, he grew up in Sète, where he also began to study at the “École des Beaux-Arts” in 1974. Between 1975 and 1980 he completed his studies at the DNSAP in Montpellier. In those years the Punkrock movement had decisive influence on Robert Combas. In 1978 he even founded a band, together with Hervé di Rosa and Richard di Rosa. In 1979 Robert Combas, Hervé di Rosa and Ketty Brindel published the art magazine “Bato”. From those days on, Robert Combas was able to establish himself as painter and graphic artist in the style of “Figuration Libre”. Along with Rémi Blanchard, François Boisrond and Hervé di Rosa, Robert Combas was a founding father of the artist group of the same name. Comics and graffiti inspired his works, Pop Art and Arabian art can be named as additional sources of influences. Strong and striking colors with black contour lines increase the effect of his images. As of the late 1980s an increasingly mystical tendency can be observed, Robert Combas’ works are darker and gloomier. In the 1990s Combas expanded his field of artistic activity: He writes poetry and works photographs over with felt tip pen, assemblages are also part of his oeuvre. After the turn of the millennium music became a great source of inspiration for Robert Combas once again, and he made large paintings in cooperation with rock bands. “Ma peinture c’est du rock”, my painting is rock music, said the artist about his work.
The following text comes from the site of Oscar Lourens. This is not the standard artist i follow , but one who’s works grow on you when you one have seen them on location.
THE ARTIST AS ARCHITECT Oscar Lourens employs photography and film as means to bring the reduced space back to human dimensions. For the exhibition ‘Vormen van aarden / Ways to root’ (Apeldoorn, 2005) he draws upon the principle of magnification: using a scaffold construction and whitewashed plywood plates, Lourens creates ‘a new house for Helene’. Referring to the live-sized pinewood-with-cloth models that Helene Kröller-Müller had built on the Ellenwoude mansion near Wassenaar, which functioned as studies for the to-be-built museum. Likewise, Oscar Lourens’ creation is a blown-up but otherwise exact replica of one of the models of La Lue. But this ‘new house for Helene’ isn’t a study for the future architecture, but a new artistic attempt to realize the miniature model in original size. In 2005, Oscar Lourens trades his role of artist for that of an architect. For the owners of the La Lue farmstead he designs a square tower of 5 by 5 by 12 metres. The tower with a pointed roof consists of three floors on which two people can cook (ground floor), live (first floor) and sleep (second floor). The dimensions are loosely based on existing rooms in the La Lue buildings. Important to Lourens is also the choice of a compact and slender tower that fits the landscape. The materials, style and position to the other buildings and the landscape are chosen accordingly. This is the first time Lourens creates a new architectonic space of his own design. Herewith, his miniature art has grown to true architecture in which the wandering spectator/visitor is able to truly experience the actual space. That the building has left the realm of art and entered that of architecture is also clear from the reactions of neighbours and visitors of La Lue. Many of them think the tower is a restored building that has been a part of the farmstead all along. The tower led me to ask Oscar Lourens whether he hadn’t rather chosen for the profession of an architect instead of being an artist. After an initial hesitation, he confirms. This hesitation is very understandable, because my question is like that of the farmer of the Lewis Caroll’s novel, who asked Mein Herr to accept the existing landscape as the best possible map. For is the tower of La Lue not the best means to truly take possession of architectonical space?
Harry van Kruiningen is one of those dutch artist who’s importance grows by the year. He was a multi disciplined artist. Painting, etching, sculpting….he did everything. Personally i think his etchings and illustrations belong (arguably) to the very best that were made during the second half of last century in the Netherlands.
They all have something mystical and when you see where his inspirations was coming from ( African masks) one can see the mystic and recognise the mysticism in his works.
Without knowing, many people have encountered work by R.W. van de Wint. The large vertical paintings in the dutch National Assembly are paintings by R.W. van de Wint.
RWVDW will become increasingly imortant for dutch art because he bought a piece of land in the year of his death , meaning to turn this into a outside museum in which he and his friend artist could develop their works in an outside situation. Much like Ian Hamilton Finlay intended to do in the same your 2006. he also died in the year he started his developments, but there is a difference too. The Dutch municipal government of Den Helder embrased the plans and is now building a nice compact museum beside the sculpture garden. The building is delayed because of the pandemic and the park/garden is not open yet, but this will be our first museum visit after the museums reopen. A great initiative and i can only recommend the park because personally i consider sculpture gardens among the most accessible and high valued cultural desitinations.
On the first initiative, Arlette Brouwes designed this “bidbook” for the Nolen project in 1986. The idea is now 35 years in development and soon, the project will have been completed. Meaning a start for a collection of which RWVDW must have dreamed a very longtime.
Beside the many exhibition posters for DE ZONNEHOF that i have added recently, there is also this publication on Gerrit Rietveld , who’s architectural design was chosen for the ZONNEHOF museum in Amersfoort. The book tells the story and history of the ZONNEHOF and Gerrit Rietveld, but what struck me most is that the photography was done by the very best in dutch photography from the past 100 years. The colofon reads like a “who is Who” in dutch photography..names: Eva Besnyö, Cas Oorthuys, Gerrit Oorthuys. the book is now available at www.ftn-books.com
Another few weeks and the new depot for the Boymans van Beuningen collection will be open for the public. Now are the weeks of moving and placing the many objects from the collection of the Boymans van Beuningen museum and an openingof the new building is foreseen on the 25th of September next. This building promisses to be something very special and i predict it will have the same appeal as the Guggernheim Museum in Bilbao. Inside , outside and the direct surroundings are all functional for visitors and citizens of Rotterdam alike. It will be an iconic building for Rotterrdam and the Netherlands and i can not wait to visist the building and see its collections by myself. To follow the progress of the opening of the building follow this site; https://www.boijmans.nl/depot
Containing over 300 chairs collected for teaching purposes since 1957, the collection is currently under the supervision of the Chair History of Architecture and Urban Planning (Van Wijk). It is acknowledged as one of the most important furniture collections in the Netherlands and is a source of knowledge about materials, construction and typologies for students and designers alike. In the past, the chairs were used as examples during lectures and as models during drawing lesson, but we now also use them as point of departure for research and design courses. Preliminary evaluations show that the close engagement with these unique objects improves students’ design processes and products.
Therre is an excellent article on thsi important collection to be found here:
This is still possibel, since 2 year after his death the Groninger Museum used one of Keith Haring Subway drawings as the leading image for all the publications that were published around the theme of Subway graffiti art. An exhibition which was held at the Groninger Museumin 1992.
Swip Stolk interpreted in his own special way this drawing and transformed into a spectacular exhibition poster. A few years earlier Stolk took an interest in graffiti art and integrated this art form into a poster devoted to the collection of the Groninger Museum. Both poster are now available at www.ftn-books.com
This will be the first of a series blogs devoted to the poster art for the Groninger Museum by Swip Stolk
Ajax is a famous dutch soccer team and Paul Huf was one of the society photographers in the Sixties. Huf was commissioned this photograph to portray the most famous of Ajax players from those years. In the picture…..Johan Cruijff, Piet Keizer, Klaas Nuninga and mister Ajax himself Sjaak Swart. This photograph has become iconic and was in 1997 chosen to be the picture for the Paul Huf exhibition at the Groninger Museum. Swip Stolk designed a beautiful , typical Stolk design, poster for this exhibition which is now for sale at www.ftn-books.com
Paul Huf (1924-2002), son of actor Paul Huf Sr., is still the Netherlands’ most famous (portrait) photographer.He portrayed many well-known Dutch people, but was also known for his advertising photography (for example, the beer campaign of Grolsch) and fashion photography.Huf’s photographs are glamorous and have an almost un-Dutch allure.Legendary was his series of sixty record covers in color, for classical music commissioned by Philips in 1954. Huf also made films, including a documentary portrait of painter Carel Willink (1975). He was, together with colleague Eva Besnyö, involved in the foundation of Photomuseum Amsterdam, now known as FOAM.
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