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Nicolaas Wijnberg as a poster artist

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At one time Pieter Brattinga, who knew every good poster artist in the Netherlands , was asked who were the best poster designers. His answer, Crouwel, Sandberg, Treumann and Bons, but the very best was Nicolaas Wijnberg. Because his father was the director of the famous Steendrukkerij de Jong he had seen their works for some decades  being printed on the presses of his father company.  Because he had seen them all, his opinion is important and when you look at the posters by Wijnberg you can see why these were liked so much. His posters are not the ones with the beautiful clean lay-out. Nor the ones which stand out because of the use of color. No……. the Wijnberg posters are special because each of them tells a small story. This is not the poster who draws your attention for an event. The Wijnberg posters reaches out to you with a part of the performance or event. This makes you curious and therefore you will remember it.

The book on the Nicolaas WIJNBERG posters is available at www.ftn-books.com

wijnberg affiches

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Babs Haenen (1948)

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If you are looking for the most complicated ceramic art , then Babs Haenen her objects will be in the top three.

The first time i encountered work by Babs Haenen was when the Haags Gemeentemuseum has bought two vases for its collection. What struck me was that these vases had very delicate colors and were looking not like the ordinary ceramics from the collection. They looked like sculptured vases . Her method of building a vase is simple. Porcelain clay is coloured with pigments and afterwards rolled out into thin sheets. The choice of porcelain clay is dictated by the wish to be able to produce bright colours. The basis for a piece at work is made by cutting up the different coloured sheets and joining them together again in various patterns.
Round a plaster core is placed a thin piece of textile, which serves to prevent the clay from sticking to the core. The core is then inverted and the sheets of clay are draped around the textile.This is done from the bottom, so that at first the pot is shaped upside down.

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When the piece has reached a given height, it is removed from the core. a short drying period and then built up further the right way up. At that point it has often not yet reached half its eventual height. Hence the form at the plaster care only determines the final form of the pot to a very minor extent.
Between the additions at new sheets of clay the piece is dried with a hairdryer, so that the form soon acquires a degree of certainty. In its further built-up a great freedom prevails in respect of designing by distorting and modelling.
After being thoroughly dried, the pieces are given a biscuit firing, then glazed and given repeated reduction firings in a gas kiln at a temperature of 1260 C.

The above text comes from the book which is now available at www.ftn-books.com

 

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Piet Dirkx weekly

Invitation by Loerakker gallery. On the invitation the multi colored designed facades by Piet Dirkx in Veldhoven. exhibition in 1994

dirkx loerakker x

 

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Pierre Faure (1972)

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Because i have always had an interest in Japan, i noticed this book on Japan at a local secondhand bookstore. Still sealed the one i have for sale now, but the one i leafed through was already open so i had a quick look. I noticed that these were real life photographs, not one of them was staged and they reflected a Japan that i very much would like to see and experience at one time. For now i have to content myself with the book ( available at http://www.ftn-books.com) until it is sold

Pierre Faure was born in 1972 in Nice and lives in Paris. He studied economics. He produces at first a work in which abstraction and organic evocations occupy a central place (series Rhizomes, Plis, Palimpsests); series which question the look of the spectator and play with the notions of scales and perspective. He also approaches the social question by realizing a work of dumping within a community Roma of Ile-de-France (2011-2012). In 2013 he is interested in the life of people in big precariousness welcomed in emergency reception center and tries to seize in this everyday life the figures of a wounded humanity. In parallel in these works he pursues since 2010 a series on the urban trees, questioning the place of the vegetable in urban zones.
pierre faure
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Johan Antoni de Jonge (1864-1927)

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I must have been 18 years of age and my parents started to get an interest in Art and in those days the Romantic School paintings were in fashion, so my parents visited the art gallery of Leslie Smith. A yearly show at a venue near the Vredespaleis, what was used as a showroom of “classic” furniture. I remember seeing Schelfhout, Verschuur, Leickert and Weissenbruch, but what struck me most was a small watercolor by Johan Antoni de Jonge. It was cheap compared with the other works of art, but would still become much much cheaper now that the Romantic School painters are completely out of fashion. The good thing about de Jonge as an artist is that his works are not ” sweet” they have an abstract/impressionist quality and are very pleasing to look at. Timeless and depicting everyday life in the Netherlands. Scheveningen, the country side and beach scenes are among his favorite subjects. They have all one thing in common. The artistic quality is there and makes you want to participate in the scene and experience life around the turn of the century.

The book on Johan Antoni de Jonge is available at www.ftn-books.com

de jonge

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Franz Eggenschwiller (1930-2000)

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Discovering “new” artists is one of the nicer thing of writing a daily blog. And writing a blog on this artist is a pleasurable experience since i like his art .  Mix total astraction wit constructivist art and use very delicate colors and you get an impression of the art Eggenschwiller stands for. Born in 1930 het must have known the abstract painters from his generation, but this does not show. His art is original and although not very well known, deserves to be presented in exhibitions and galeries. This is one of the goals the Eggenschwiller-Wiggli foundation has set for themselves.

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Eggenschwillers works must be known with a much larger public than these are known now. Works by Franz Eggenschwiller are present in the Solothurn Museum and http://www.ftn-books.com has the most important publication on this artist available.

eggenschwiler

 

 

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Erwin Olaf special 1:1 by Floris Vos

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It has been some years ago that there was an exhibition by Erwin Olaf. The sets/ stage design was done by Floris Vos who recently died. Floris Vos was important to Erwin Olaf since the staging of his photographs is so important and a part which makes his photographs recognizable and stand out. Every detail counts and the result is a photograph which is truly remarkable. Of course the talent of Erwin Olaf is undoubtedly present in every photograph he takes, but the staging by Floris Vos will be missed in the future. I dare to say that the future Olaf photographs will be different and that is probably not a bad thing, because now Olaf must use a different set director, which means different photographs for sure and taking a new road into the staged photography he excels in.

set for “Grief”

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www.ftn-books.com has the HET NIEUWE INSTITUUT folder/invitation for the exhibition from 2013 available for sale.

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Ben Sleeuwenhoek (1951)

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A painter from my generation, who i have followed now for a long time. I never have been in the opportunity to buy  a painting for our collection, but maybe…..one day the time will come and i will succeed to buy one at auction. What i like about the paintings by Ben Sleeuwenhoek is the “humor” he inserts into his abstract paintings. Drops, stones, lamps, swings …every everyday object can have its place and function in a painting and what is more ….. the color scheme he uses is very pleasing to the eye and modern, so it blends in a perfect way with may interiors.

Ben Sleeuwenhoek has regular exhibitions at the large dutch Museums and has works present in the Zeeuws Museum and Museum Boymans van Beuningen

www.ftn-books.com has some Ben Sleeuwenhoek publications available

sleeuwenhoek a.jpg

sleeuwenhoek b

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Wim Oepts (1904-1988)

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Wim Oepts , always reminds of the more abstract brother of Vincent van Gogh. The choice of colors even reminds of van Gogh and in many cases his landscapes are the same kind of Landscapes van Gogh preferred to paint. The days that Oepsts started to paint were the same days that van Gogh was finally recognized as being one of the great painters of all time. This meant that Oepts must have known his paintings very well and admired them. This also meant that he never followed the road into abstraction . His paintings were always colorful and the subjects recognizable. Friendly paintings for those who want an ” easy” work of art on the wall. Affordable certainly , artistically important? ….i doubt it.

left Oepts / Right van Gogh

 

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Wim Crouwel (continued )

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Early September 2019 i recommended the Mr Gridnik exhibition which would open shortly  after in the Stedelijk Museum. Just a few days before opening Mr.  Gridnik/ Wim Crouwel died  and he never witnessed his tribute at the Stedelijk. Since i have not found the time to go to this exhibition myself, but now that i finally have the opportunity and started planning my visit, i found out that all rooms are photographed and can be visited on line. It is a worthy tribute to one of the greatest designers from the last decade, but could have been much more complete. It focusses for 90% on the Stedelijk Museum publications, but it is still a very impressive sight to see so many great designs collected, but the real surprise is that i noticed that i have almost all of the books on show in my inventory. (www.ftn-books.com)

For those living too far away to visit the exhibition….here is the direct link to the rooms and showcases with Crouwel material:

https://www.stedelijk.nl/nl/crouwel-vitrines

and another excellent site with 19 photographs:

http://dutchdesigndaily.com/nl/nieuw/wim-crouwel-mr-gridnik/