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Emil Orlik (1870-1932)

Emil Orlik (21 July 1870 – 28 September 1932) was a painter, etcher and lithographer. He was born in Prague, which was at that time part of the Austro-Hungarian Empire, and lived and worked in Prague, Austria and Germany. He was the son of a tailor. He first studied art at the private art school of Heinrich Knirr, where one of his fellow pupils was Paul Klee. From 1891, he studied at the Munich Academy under Wilhelm Lindenschmit. Later he learned engraving from Johann Leonhard Raab and proceeded to experiment with various printmaking processes.

After performing his military service in Prague, he returned to Munich, where he worked for the magazine Jugend. He spent most of 1898, travelling through Europe, visiting the Netherlands, Great Britain, Belgium, and Paris. During this time he became aware of Japanese art, and the impact it was having in Europe, and decided to visit Japan to learn woodcut techniques. He left for Asia in March 1900, stopping off in Hong Kong, before reaching Japan, where he stayed until February 1901.

Three ladies

He produced a large collection of paintings, woodcuts prints and etchings.

At the turn of the 19th century, for the first time, Japanese prints were available in Europe to be collected and traded. To the Europeans, these prints appeared fresh and modern, though they existed in Japan since the 18th century.

The Japanese artists were not concerned with perspective or an accurate depiction of nature but rather, their focus was on the beauty of the line and composition.

example of Japanese influenced print by Orlik

Emil Orlik was fascinated by Japanese art and culture. He had travelled extensively through Europe searching but finally in 1900, he journeyed to Japan. Orlik learned Japanese and travelled alone on foot through parts of Japan that few Europeans had discovered. There, he studied from the artisans he admired. Upon his return to Vienna, at that time, he was one of the few European artists that had ventured to Japan.

His works brings together his European roots and his newly discovered Asian sensibilities. The below catalogue is available at

Orlik publicatin for galerie Vomel

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Carol Huebner-Venezia (1947)

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Carol Heubner-Venezia is represented by  Galerie Heike Curtze, one of the leading galeries in the world, they recognized the qualities of this photographer from the early Nineties until now. Her series of BOXER photographs has become iconic and her works can now be found in all important public photography collections.

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Roughly speaking, Carol Hübner-Venezia shows in her works the fast passing moments of everyday life. For example, since the early 90s Carol Huebner-Venezia has been photographing in Gleason’s Gym (New York). In the oldest and most famous boxing stable in the world, heavyweights such as Muhammed Ali, Joe Frazier, George Foreman, Jake la Motta and Mike Tyson once trained. But Carol Huebner-Venezia shows neither prominent boxing stars nor spectacular wrestling matches. 
Instead, her large-format works reflect the atmosphere of the milieu, they provide insight into training situations and tell of the athletes’ self-image.

In her beach series, for example, her photos show various beaches. In this series, the works depict everyday life on the beach in New Jersey. In front of us, infinite sand expanses open up, interwoven with traces and giving us a sense of loneliness. has the Carol Heubner-Venezia poster for her Josef Albers Museum exhibition available.

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Mariska Gewald (1988)

Mariska Gewald

I always take an interest in young artists and in this case a very special one. Niece of Ap Gewald and starting to present herself on the internet with a site of her own. I briefly spoke to her last week. She mentioned she was planning to sell her first series of illustrations  and after seeing these, i immediately compared her interest in animals to the works i know of Arja van den Berg. Both make Intimate prints and both have an interest in domestic animals.

Mariska makes these for a much younger audience, while Arja makes them for a more mature one, but both have that immediate appeal.  These are perfect gifts for Christmas. ( prints available at

 The painting below is by Arja van den Berg. The one she made for us some 30 years ago. A different generation, a different approach. And the series below the painting are by Mariska Gewald. Bright, original prints, where shape is even more important than detail. 

Sinh & Joy by Arja van den Berg

Below some of items available on Arja van den Berg at

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Boris Kleint (1903-1996)

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He was born in 1903 in Masmünster , Alsace . After graduating from high school in Baden-Baden (1921), he studied psychology , philosophy , medicine , languages ​​and art studies at the universities in Heidelberg , Leipzig , Berlin and Würzburg from 1921 to 1925 . In 1925 he received his doctorate in Frankfurt in the subject of psychology [1] and was there at the Psychological Institute assistant to Max Wertheimer , the founder of Gestalt theory . From 1933 he studied in Berlin Painting by the Swiss painter and art teacher Johannes Itten , whose assistant he became in 1933. In 1936 Kleint emigrated to Luxembourg .

Between 1936 and 1942 he traveled from there to Walter Gropius in London and to Kandinsky and Picasso in Paris , later a second trip to Kandinsky followed. After the liberation of the Grand Duchy by Allied troops (1944) he was interned in the Luxembourg state prison “Im Grund” for four weeks.

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In 1946 Kleint received an appointment at the State School for Art and Crafts in Saarbrücken, where he took over the master class for painting and at the same time set up a “basic teaching” based on the Itten preliminary course ( Bauhaus ), which he passed on to his assistant Oskar Holweck after a few years passed on. In 1953 he took over the chairmanship of the Saarland Artists Association. In 1954 he was appointed professor and four years later a visiting professorship at the Technical University of Aachen . In 1957, Kleint and like-minded people founded the artists’ association “ neue gruppe saar ”. In 1969 his main work “Bildlehre” appeared, which became decisive for later generations of students and in several languages, including insJapanese , has been translated.

Kleint’s oeuvre covers a broad spectrum and is stylistically diverse. Both constructive – concrete elements and informal tendencies can be found in the work . According to his own statement, his artistic goal was a “visual universality” to which he subordinated the finding of a personal style.

In 1994 Klein received a Retrospective exhibition at the Josef Albers Museum. He signed a few of the exhibition posters of which one is now available at

kleint poster bottrop a

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William Morris (1834-1896)

Inspired by a projcet that my wife was doing for her work. I noticed the raised interest in the classic designs of William Morris and the use of these complex, but classic designs in Modern and Contemporary interior designs. Contemporary furniture and lightning is chosen with a background on one of the walls designed by William Morris. And not one, but i saw the use of William Morris wallpapers in multiple of her designs.


Throughout his life, William Morris was fascinated by textiles and the techniques he needed to master to produce the effects he saw and admired in historical furnishings.

Satisfying his need for a manual as well as an intellectual engagement with design, textiles also offered Morris the scope to develop his talent for pattern across a huge number of different products. The V&A has extensive collections of his work in textiles – ranging from examples of his first experiments in embroidery in the early 1860s through to the imposing tapestry panels he helped to create only a few years before his death.

These dessigns now certainly have proven to be timeless. Many of these are over 150 years old, but they remain fresh and my guess is they  still will be used in another 100 years.


The above publication is available at

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Dieter Asmus (1939)

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I first noticed Asmus when i was researching Dieter Hiessere , another German Pop Art artist. Dieter Asmus started his career in 1964-1965 when his early realistic paintings were demonstrated to the public for the first time. At the same period, along with his fellows, German painters Peter Nagel, Dietmar Ullrich and Nikolaus Störtenbecker, he founded in 1965 the artistic group dubbed Zebra. Its main goal was to gather all German realist artists.

At the beginning of the 1970s, Asmus got acquainted with an art historian Armin Schreiber whose wife was Brigitte Kronauer, a writer. Three friends established a publishing company which issued the debut Kronauer’s novel illustrated by Asmus.

Since that period, Dieter Asmus exhibited at various prestigious galleries in London, Rome, Copenhagen, Rotterdam and Paris.

Now the artist lives and works in Hamburg, Germany. He creates his artworks in oil using such photography technics as snapshot, color balance and clipping.Dieter Asmus is a prolific artist, one of the key figures in contemporary figurative art whose artistic talent and imagination were marked by many awards and scholarships.So, in 1967, at the beginning of his artistic journey, Asmus became a recipient of three scholarships, those from German Academic Scholarship Foundation, French government and from the German Academic Exchange Service which allowed the artist to go to London. These ones were followed in 1971 by the art scholarship from the Federal Association of German Industries (BDI). Nowadays, Asmus’s artworks are acquired by such prestigious museums and galleries as The Albertina in Vienna, Austria, the National Gallery of Berlin, Staatsgalerie in Stuttgart, Hamburger Kunsthalle and the National Gallery of Modern Art in Rome. has one Asmus title available (


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Jonas Weichsel (1982)

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Weichsel is without doubt one of the youngest artists that had a one man show at the Josef Albers Museum in Bottrop and….deservedly. His works have a minimalist quality and are bright filled with color. Just see his show and it makes you comfortable and happy at the same time. Thre is nothing to distract….just the composition.

He creates minimalist paintings of uncanny precision and impalpability, which upon closer inspection translate into sensuous, lived experiences. Early on, Weichsel developed his unique analytical and systematic painting technique, which he continues to pursue often combining digital and plotting techniques with hand-painted elements to explore the possibilities and limits of painting and the boundaries between immateriality and a tangible, material presence. His paintings inherit a deceptive simplicity and unfold their full power only in the contemplation of the original.

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Jonas Weichsel, born 1982 in Darmstadt, Germany, first studied in Mainz and Düsseldorf before completing his Meisterschüler with Judith Hopf at Städelschule Frankfurt. In 2016, he was awarded a residency at the Villa Romana in Florence, Italy. In 2012, he won the Karl Schmidt-Rottluff Stipendium after having been awarded the Dies Academicus—the Prize of the Johannes Gutenberg-Universität Mainz—alongside a scholarship from the Studienstiftung des Deutschen Volkes in 2009. Recent solo exhibitions include the Joseph Albers Museum, Bottrop (2018), Museum Wiesbaden (2016), and Deutsche Bundesbank, Frankfurt a.M. (2013). Important group exhibitions include the Museum of Modern Art, Frankfurt (2018; 2017; 2011), Kölnischer Kunstverein, Cologne (2017), Kunstverein Braunschweig (2016), Kunsthalle Düsseldorf (2016), Villa Romana, Florence, Italy (2016), Frankfurter Kunstverein (2015), Kunsthalle Wiesbaden (2015), Kunsthalle Mainz (2015; 2010), Kunstraum Bethanien, Berlin (2015), Salondergegenwart, Hamburg (2013), Kunstmuseum Wiesbaden (2012), Heidelberger Kunstverein (2011), Wilhelm Hack Museum (2010), and Nassauischer Kunstverein, Wiesbaden (2010). Jonas Weichsel lives and works in Frankfurt a.M.

The Josef Albers Museum poster is now available at

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Peter Alma (1886-1969)

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For me the period between the two world wars ( Interbellum ) is the strongest for Peter Alma. In these years he made his most important works. Communist and artist at the same time, he was very much influenced by the socialist and communist art from the early decades of the 20th century.

Among his friends Hildo Krop, Berlage and Charley Toorop. Unfortunately he never became the famous artist he would have deserved to be. This means that his (graphic) works can be bought at very reasonable prices and at auction you can become outright lucky for some 50 Euro or so. I compare his graphics with the best Gerd Arntz made in his prime and beside their artistic value these works belong to the strongest graphic works from then first half of the 20th century. has the Stedelijk Museum Alma catalogue available.OLYMPUS DIGITAL CAMERA

BTW. the above catalogue was designed by another great from last century. Piet Zwart did the design.

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Mari Andriessen (1897-1979)

a Young Mari Andriessen

You might find his sculptures a bit outdated, but they are still strong and are in most cases part of dutch history. There is Lely , the man who designed the AFSLUITDIJK, the DOKWERKER and many others that are equal iconic. Andriessen was one of the most important sculptors from the first part of 20th century in the Netherlands, but his works seem to be almost forgotten. That is the reason of this blog. Andriessen is important for dutch art and deserves some extra attention. 

A nice touch is this cinematictribute from the  POLYGOON JOURNAAL in which his 70th birthday is commemorated.


The following Andriessen publication are available at

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Zoltan Kemeny

Zoltan Kemeny

I had not heard of Kemeny before i visited the Cobra Museum where an exhibition was held on Zoltan & Madeleine Kemeny in 2004 (items available at

Zoltan Kemeny was born on March 21, 1907, in the hamlet of Banica, Transylvania, then part of Hungary. As an adolescent he learned to paint under the tutelage of a naïve sign painter. Apprenticed to a cabinet maker in 1921, he began to study technical drawing for furniture making in 1923. From 1924 to 1927 Kemeny took courses in architecture and interior decoration at the School of Decorative Arts in Budapest. Thereafter he enrolled in the School of Fine Arts in Budapest, where he studied painting from 1927 to 1930.

In 1930 Kemeny settled in Paris; he abandoned painting and for the next decade worked as a designer of forged metal objects, a fashion designer and at other trades. After spending the years 1940 to 1942 in Marseille, Kemeny moved to Zürich. There he resumed painting and supported himself as a fashion designer and, from 1952, as an editor for a fashion magazine. His first solo exhibition took place at the Galerie des Eaux-Vives in Zürich in 1945. The following year the artist’s first one-man show in Paris was held at the Galerie Kléber, and he met Dubuffet. Subsequent to this encounter with Dubuffet, Kemeny began to introduce commonplace found objects such as pebbles, beads and dried grass into his works, to produce collage and reliefs with crude, rough surfaces.

The character of Kemeny’s work changed markedly in 1951 when he made his first translucent, colored reliefs, in which objects are attached to glass sheets. He sometimes enhanced the luminosity of these reliefs by placing an electric light behind the glass. By 1954 the artist began to renounce crude materials in favor of metal, the medium he continued to use throughout his life. Kemeny obtained Swiss citizenship in 1957. In 1959 he was honored with a retrospective at the Kunsthaus Zürich. He gave up his work as a fashion designer to devote himself exclusively to sculpture in 1960, the year of his first one-man exhibition in New York, at the Sidney Janis Gallery. He executed several major commissions in his last years, including a brass sculpture for the municipal theater in Frankfurt. Zoltan Kemeny died on June 14, 1965, in Zürich.