This an artist for the future and at this time still affordable and a great investment.
Reinhoud D’haese’s works were primarily surrealist outputs depicting small-scale figures performing various activities; Le Contramaitre is just one of the many quirky figures created and exhibited.
Initially, his preferred material was copper, but he eventually went on to explore and create with a variety of other materials throughout his career, namely pewter and glass. D’haese met Pierre Alechinsky in the early 50’s and subsequently displayed a lot of his works . Both had an iconic exhibition at the Stedelijk Museum Amsterdam, which catalogue is still one of my personal favorites.
What makes the works special for me and it is the reason i think his art will be of great artistic and financial valu in the future is that Reinhoud walks the road between surrealism and abstraction, making his art related to Alechinsky but also to Andre Breton.
His saculptures are unique creatures and put together are part of the typical Reinhold world.
Galerie Willy Schoots was one of the iconic galeries that started in the Nineties with some great exhibitions. Later the gallery was continued in Antwerp as Galerie Schoots – Van Duyse. But trying to find the internet pages of the gallery i found out that the gallery is now closed. A pitty since another great gallery whichg has dutch roots has now closed its doors . Just a few dozen of galeries for Modern Art continue their work to present dutch and international art to a dutch audience. I predict that in another decade most of these will have closed and ond only “an “online” art market will exist. Still there is lots of these galeries to collect. I have recently added some catalogues and invitations of the galerie Willy Schoots to my inventory at www.ftn-books.com
These are now for sale today the invitations and tomorrow the catalogues which are added.
To be honnest…i did not know Marcelle Van Bemmel until i recently discovered and purchases an nice catalogue on het fantastic photography from 1986. It shows the qualiteis in which she excells. Living in Rotterdam it can not ne coinsidence that many staged photography is being made . Many photographers are making staged photography as an art form ( Henk Tas ao) and van Bemmel is one of them.
The photographs make you guess and wonder why these objects, forms and figures were in a way that emotions are aroused. Humor, darkness and phantasy all are fighting to concur your mind. The book is available at http://www.ftn-books.com
I think that museum DE PONT in Tilburg is one of the museums that impresses me most. In the almost 30 years of its existence it has build a solid reputation in organizing breathtaking and ground breaking exhibitions and in the meantime expanded their collection of contemporary art in a very personal way. The building, not the most architectural beautiful museum in the world, is fantastic to present the modern art and each time i visit de PONT it impresses me. The man responsibel for this great achievement is Hendrik Driessen.
While i was searching for minimal art in the Netherlands i discovered that many of the contemporary minimal artists in the Netherland had their first museum presentation at the DE PONT. Besides the exhibitions, their publication program is well worth following. Beautiful designed catalogues and posters are published making this one of the most desirable and satisfying museum packages/ visits for me.
Another great set andn this time both poster and catalogue look almost identical (1970). Both are great simplistic in their designs , but strong in their appearance and they immediately draw your attention.
The Concrete poetry is one of my personal favorit publications and i like the poster as well. Both are availabel at www.ftn-books.com
It has been almost 50 years ago that the Stedelijk Museum presented dutch graphic artist Nono Reinhold for the first time. She has never become a “household’ name among dutch graphic artists, but now is the time to recognize the importance of Reinhold . Her works , inventive techniques and place among the arists of her generation , shows that she is important. the Teylers Museum adn Stedelijk Museum Amsterdam have an important collection of her works , which is occasionally on show. When you first see her works the immediate association is the liquid slides from the SIXTIES, with one difference. slides are random, but these compositions and colors are intentional. Until 10 years ago i never had heard of the artists but since i grew my inventory i encountered several books on Reinhold ( availabel at http://www.ftn-books.com ) and i started to like her works. May be it is time for you to discover Nono reinhold at this moment too.
Without knowing . The VOORMOLEN company made an artist book which contains contributions by the very best artists from the Netherlands from the Sixties. Katshoek was an architectural project in the rebuilding of Rotterdam after WWII. New architectural design , enhanced with art from the very best of dutch artists.
Together with the project the Voormolen company made an artist book. with contributions by Boezem, Bonies, Dekkers, Dibbets, Eikelenboom, van Elk, Gribling, Koetsdier, Manders, n, Rous, Schuitema, Graatsma, Slothouber, Staakman, Struycken, Volten
the above publication is also in the collection of several dutch museums and now available at www.ftn-books.com
Katshoek office building
Heer Bokelweg became the connection between Schiekade and the Rotte Tracé, a wide road from the centre to the motorway to Utrecht. The Katshoek building was the first structure built on this new and wide city boulevard.
What a contrast between the large modern building faced in white Kirchheimer limestone and the Oude Noorden district behind it! The huge structure has been built on Heer Bokelweg in the Zomerhof District.
It was originally designed as a multi-tenant building for small industries that had previously been housed in temporary structures in the area. However, this plan was dropped on account of the drastic increase in construction costs since the plan was launched in 1959. The idea now is to house ten large offices in the building, among them probably, subject to approval by the city council, a number of municipal departments. In addition, the Voormolen contracting firm that built the structure hopes to move from its current address on Westersingel into the new building on Heer Bokelweg in early 1968.
Het Vrĳe Volk, 28 September 1967
The post-war Basis Plan for the centre of Rotterdam earmarked Heer Bokelweg as a main access route into the new city from the north-east; an entrance between ‘gateways’ like the Shell building and the Schieblok to the renewed Hofplein and Coolsingel. Heer Bokelweg later became the connection between Schiekade and the Rotte Tracé, a wide road from the centre to the motorway to Utrecht. The Katshoek building was the first structure built on this new and wide city boulevard. After completion of the building the widening was extended on the north side, including an unsophisticated gap punched in the Hofbogen viaduct. But the changing insights of the early 1990s are visible on the southern side in the narrowing of the street with the construction of the Scala apartment complex beside the RAC garage, which today houses the city archives.
The sturdy seven-floor concrete-frame building is designed as a multi-tenant building, but it differs considerably in both layout and architecture from Maaskant’s other multi-tenant buildings such as the Industriegebouw, Groothandelsgebouw and Verzamelgebouw Zuidplein. According to Maaskant expert Michelle Provoost, this is an atypical work for Maaskant. “Especially the facade, which is very flat. You don’t see that very often in Maaskant’s buildings. The facades of his buildings are usually very expressive.”
The exterior is indeed fairly flat, with sleek bands of fenestration in aluminium profiles and stone cladding. The interior and the columns along the lower volume on Almondestraat are finished in bush-hammered concrete, a technique used to leave the concrete surface rough. The use of luxury materials gives the building a strongly representative feel. The floors of the two halls of the main staircases and of the shopping gallery are finished in Jura stone. The walls of the halls and the ground-floor columns feature exposed concrete adorned with a relief, while the entrances to the staff lifts are finished in white anodized aluminium.
The angle on the front facade is elegantly highlighted by the stone bands that continue as a vertical series of balconies.
Clearing the way for cars
The widening of Heer Bokelweg cleared the way for cars, but the building facilitates cars in other ways too. A car park for 250 vehicles was built behind the building and was directly connected to the office volume. In addition, an Aral petrol station was built on the triangular site between Heer Bokelweg and Almondestraat. And so the number of petrol stations within a 100-metre radius came to three!
Art plays an important role in the building. The facade features an entrance relief by André Volten (1925-2002), one of the best-known abstract sculptors of the post-war period, whom Maaskant frequently worked with. The piece (Untitled, 1968) is a facade element with circular segments. The lines of the architecture are repeated in the work and distorted to form a new image. It was originally made of stainless steel and stone, but during renovation it was painted black along with the columns, ruining the effect. An art event was held in the entrance hall to mark the opening of the building in 1968.
Until 21 December, the ground floor of the new Katshoek office building in Rotterdam is the venue for an exhibition that is as unusual as it is striking. At the invitation of Voormolen, the contractors responsible for building Katshoek, sixteen artists were given an opportunity to express themselves creatively with all sorts of construction materials.
Het Parool, 14 December 1968
It was, according to organizer Bob Bonies, a remarkable project:
“After all those exhibitions, which always consisted of the finest possible arrangement of existing works, I wanted to try another approach. I proposed inviting a number of Dutch artists to create their contribution inside that wonderful space by using construction materials supplied by Voormolen. Including engines, blowers and the like. And with the help of skilled workmen from Voormolen. It was an expensive project, but I immediately received full cooperation.
I chose sixteen artists: the cool guys Dekkers, Manders, Koetsier, Struycken and myself, Boezem, Dibbets and Van Elk with their micro-emotive art, the kinetic artist Staakman, Eikelenboom with his utopian situations, Rous, who makes a sort of minimal art, André Volten, Paul Schuitema with his colour scheme and his alphabet and the Slothouber-Graatsma team from the Cubic Construction Centre. And Gribling with his space structures.”
Het Parool, 21 December 1968
The building housed the offices of Robeco, Procter & Gamble Benelux and a number of municipal departments. Owing to its out-of-the-way location, the building later fell out of favour. The current tenants are OMA and Havensteder.
Servie Janssen (1949-2018) Dutch artist studied in the Kraków Academy of Fine Arts in 1971. His connection to Poland ran through his whole career as a passionate artist and performer. On the 14th of July 2018 in a conversation between Servie Janssen and Nell Donkers, Janssen mentioned the influence and his close relation to the artistic movement constructivism, and especially to Kazimir Malevich. In the same conversation Servie Janssen emphasized that he finds the publication “Pier+Ocean: Construction in the art of the seventies” (Arts council of Great Britain, 1980) the most important.
After “I Am” and “Works and Words” Janssen also took part in the international exhibition Construction in Process (Konstrukcja w Procesie) in 1980 in Łódź, Poland. He wrote in an email: “What strikes me about Poland is that this line of constructivism that started with Kazimir Malevich and Henrik Stazewski – in no other former Eastern Bloc country you will find this in such a way – (Stazewski was a member of the honorary committee for Konstrukcja w Procesie) – and they saw in my 9 rectangles work a promising link to current events, all the more so since a whole generation of conservatives were still finding their way, in a kind of surrealism and absurdism in art (especially graphic artists).” The documentation of his 9 rectangles performance (the one he performed in Works and Words) was exhibited and he performed “This side is Red” during which he read titles of Friedrich Nietzsche’s works while lying on the floor next to a neon sign.
Janssen held a performance combined with an exhibition in De Appel in 1978. Art critic, Marga van Mechelen in her book “De Appel 1975-1983” writes that Janssen’s performance was influenced by his journey to Canada.
Later, as Louwrien Wijers writes in a witness report, Janssen’s artistic development was defined by his interest in shapes in space. In Works and Words Servie Janssen held a performance in the Kapel venue on the 26th of September in 1979. During the performance Janssen repeatedly built and deconstructed structures of wooden sticks, originally in the shapes of 9 rectangles.
In french one would say about Jan Baartmans ” a petit maitre” . Translated in dutch “een kleine meester” and in english ….. a lesser known master painter.
Baartmans is not known at all and only locally he is presented in the last few decades. One of these occasions was at the ‘de Markiezenhof” in Bergen op Zoom in 1995, organized and financed for the greatest part by his family . Look at his paintings and one sees influences of the impressionists and fauves, but also ,” just around the corner ” some neo-impressionist influences. A touch of Signac and Rijsselberghe is present .
I am convinced that there are admirers amoong my reqaders and for those know that i have teh MARKIEZENHOF publication from 1995 now available at www.ftn-books.com
It has taken over 3 decades for Lou Loeber to be fully appreciated by art collectors and curators, but now, almost 40 years after her death, she is considered as one of the driving forces of modern art after WWII in the Netherlands. Het art is rooted in constructivism and cubistic style, with a dash of DE STIJL and Sturm. But most important her art can be recognized as being from Louber and has qualities which make her art stand out from other artists who were active in that same period.
It is time now for a retropective exhibition in teh Netherlands, which will show all the qualities of Louber as an artist, not because she was one of the first female artist who rose to fame, but because of the qualities and value of her art.
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