As promissed another detail which shows the thick layers of wax paint Piet uses to make his compositions. This painting was discussed earlier in another blog on Piet and has been presented on 3 locations before it finally was part of our collection. Among the locations was the Biotoop project at the Haags Gemeentemuseum.
Floris Arntzenius is one of those painters who can be called a dutch impressionist. His touch is not as sunny as the French impressionists, but more subdued and influenced by weather and seasons in the Netherlands, making his paintings less bright and cheerfull. Still his depicting of daily life and townscapes makes his work of a rare quality. His painting can be compared with that of Jan Toorop, but where Toorop changed his style for several times during his life, Arntzenius stayed true to classic dutch impressionist scenes.
left Arntzenius / right Toorop
The Gemeentmuseum Den Haag has some very nice Arntzenius paintings in its collection and has published several catalogues over the years of which some are available at www.ftn-books.com
For me Giugiaro stands for car design. Specially the iconic Alfa Romeo GTV and Sprint are the cars i am thinking of when i think of Giugiaro, but others are reminded of other objects when they hear the name of Giugiaro, because he is one of the most influential Italian designers from our days. Coffee machimes, furniture, lamps etc. all by the hand or studio of Giugiaro have been produced in the last 50 years.
Giugiaro was named Car Designer of the Century in 1999 and inducted into the Automotive Hall of Fame in 2002 and this is the model i would like to share with you. After driving the original Austi Mini for a few years i changed to the even less reliable Alfa Romeo Sprint by Giugiaro. Less reliabel, but great fun to own and drive,
In addition to cars, Giugiaro designed camera bodies for Nikon, computer prototypes for Apple, Navigation promenade of Porto Santo Stefano, and developed a new pasta shape “Marille”, as well as office furniture for Okamura Corporation.
Giugiaro’s earliest cars, like the Alfa Romeo 105/115 Series Coupés, often featured tastefully arched and curving shapes, such as the De Tomaso Mangusta, Iso Grifo, and Maserati Ghibli. However, as the 1970s approached, Giugiaro’s designs became increasingly angular, culminating in the “folded paper” era of the 1970s. Straight-lined designs such as the BMW M1, Lotus Esprit S1, and Maserati Bora followed before a softer approach returned in the Maserati Merak, Lamborghini Calà, Maserati Spyder, and Ferrari GG50.
Giugiaro is widely known for the DeLorean DMC-12, featured prominently in the Hollywood blockbuster series Back to the Future. His most commercially successful design was the Volkswagen Golf Mk1.
There is a nice book on Giugiaro avaialble at www.ftn-books.com
This is the exhibituion i remember most of all the exhibitions we visited during the last decade. It was a “one of a kind” event, which will never be repeated at such a scale. The exhibition covered over 100 Basquiat paintings and certainly not the smallest of them all. The entire FONDATION BEYELER ( except the Giacometti/Monet room) was devoted to one of the greatest of all painters from the 20th Century. At the time i had the foresight to take some extra Beyeler publicity folders with me and now i have decided to sell 3 of those to collectors. For this original publicity folder please take a look at www.ftn-books.com
Imagine the old dutch game of ELECTRO . You habe to find the right combination between question and answer and than the light will light up when the answer is correct. This was the idea behind the play catalogue Swip Stolk designed together with Frans Haks for the ENVIRONMENT exhibition they organied in 1968 fro Studium Generale Utrecht.
For me the importance is not the design of the the play catalogeu but the participating artists. Among them…Morellet, Megert, Struycken, Le Parc and Gerstner.
The “creme de la Creme ” all within one exhibition. This exhibition from 1968 is almost forgotten and one of the reasons is the rare catalogue which was published with this exhibition. Now i have one copy available. Text by Frans Haks, design by Swqip Stolk and produced by Jumbo. A classic among the Sixties catalogues in teh Netherlands anmd well worthdt collecting. Available at www.ftn-books.com
Is another colorful figure from the early days of NEUE WILDE painting. She was famous for her female figures in her paintings. Bold, proud woman that always looked very much like herself. In many cases she used self portraits in her paintings.
Now for a personal opinion….. At the time i first saw an Elvira BAch painting i was very much impressed . Colorful , proud woman, large size . all the elements i like in a painting, but where Rainer Fetting ( Yesterday’s blog) aroused my interest agin in the Neu Wilde, Elvira BAch i find much much less interesting after 35 years. I can not predict what this will mean for the future for the value of her art, but for me Elvira Bach is not so high anymore on my wish list.
There are some catalogues on Elvira BAch available at www.ftn-books.com
Rainer Fetting was one of my favorit artists in the Eighties, but i almost had forgotten him until half a year ago a beautiful and impressive painting by Fetting was auctioned at the Venduehuis. A large painting which belonged to the Hans Sonnenberg collection. A famous gallery owner who was always charmed by artists who focussed on male figures and nudes. Fetting was certaimly one of them. Fetting was considered to be part of the NEUE WILDE mouvement from the early eighties and had developed a very recognizable style of his own. Bright colors , loose in composition and technique his paintings shine after they are finished and the one from the Venduehuis is an excellent example.
His paintings are starting to appear at auctions and i am very curious what the future will bring. My personal guess is that Fetting is such an artist who is forgotten for the last 2 decades , but in a few years will be one of the great artists from the eighties. www.ftn-books.com has some excellent catalogues on this great germna artist.
Put them next too eachother and you see a resemblance in the directness and of course the use of black and white within them. But WILLEM is not only known for his Black / white drawings , but also for his political drawings and … some great illustrations. Among them… the illustrations he had done for FROM A -> Z by Rebecca Rass, published by Thomas Rapp in 1969 and available at www.ftn-books.com
Here is a part of the biography on WILLEM published by the Lambiek gallery:
Born and bred in de Veluwe, one of the most conservative regions of Holland, Willem has become one of the world’s most unpredictable and sardonic cartoonists. While studying Fine Arts between 1962 and 1967, it all started with some early comix and cartoons for magazines like De Legerkoerier (The Army Courier), and with Willem’s contributions to the legendary student magazine Propria Cures. There, he got in touch with Roel van Duyn, the editor of the paper for the hippie movement Provo.
Since Provo at that time didn’t have an illustrator, Willem started working for them right away. In 1966 he caused quite a stir by portraying the Dutch queen Juliana as a prostitute in one of his cartoons for the Provo publication God, Nederland & Oranje. What followed was a persecution for lese majesty and a fine of 200 guilders. Following the demise of the Provo movement, his work appeared in De Nieuwe Linie in 1967. He moved to Paris, France in the following year, where his first cartooning work were contributions to L’Enragé during the May 1968 student strikes in Paris.
He subsequently became a regular contributor to Hara Kiri as well as its follow-up Charlie Hebdo. Willem’s beloved themes such as fat women, biological warfare, crabs, small children and police violence were all represented in the many political cartoons, illustrations, puzzles, comix and texts for the magazine. He also served as a promotor of Dutch comic abroad with his own publication Surprise. He was eventually editor-in-chief of Charlie Mensuel. He also appeared in Benoît Lamy’s documentary ‘Cartoon Circus’ (1972), a Belgian documentary about cartoons and comics, in which he was interviewed alongside Siné, Picha, Roland Topor, Cabu, Jean-Marc Reiser, François Cavanna, Professeur Choron, Gal, Georges Wolinski, Joke and Jules Feiffer.
Ever since the late seventies, Willem has been contributing controversial daily cartoons to the French left-wing daily Libération. All through these years his output has been prolific, resulting in a veritable mountain of book publications, which are almost without exception hard to find. Luckily, in 1998, the editor Jean-Pierre Faur published the anthology ‘Deadlines’, a beautiful overview of the works of one of the most internationally renowned Dutch graphic artists.
With this ZANNETTI name i found two items. The first was cheese flakes with the name of the producer Zannetti. The second is a brand name for exclusive watches. Bot have no resemblance at all with the art work Piet Dirkx presented with the name ” ZANNETTI”. it is a multi colored small beam with an egg hanging underneath it. . Long and lean , i found it very appealing when i bought it and since, it always has found a place in our homes. Here is ZANNETTI from 1994/1995
A blog on a very speciual multiple that was published on the occasion of the Henk Peeters Retrospective at the Gemeentemuseum Den Haag in 2011. On that occasion a reprint of the famous Nul/Zero 1964 catalogue was made in a small edition. It is the catalogue with the ZERO presentations by Armando, Peeters and Schoonhoven. All of these legendary artists have now passed away, but Peeters realized the importance of that catalogue and from that facsimile edition Peeters took some 20 copies and made multiples out of them by Stitching the front , back and inner work together and sign them with ECHT PEETERS. This has become one of the rarest of the later Peeters multiples and now one of those multiples is for sale at www.ftn-books.com
Henk Peeters (b. The Hague, 1925-2013)) was the most active member of the Dutch Nul group, notably with regard to the organization; he made the international contacts, organized the international ZERO (Nul) exhibitions at the Stedelijk Museum Amsterdam, and wrote on the theory of art. It was also he who first actively participated in international exhibitions with artist groups such as the German ZERO, the Italian Azimuth, and with artists Yves Klein, Yayoi Kusama and Lucio Fontana. He initiated the (utopian) project “Zero on Sea,” with more than fifty participating artists from over ten countries, and remained true to the fundamental concept of the Nul movement right up to his death in 2013. He sought to use his works of art to make the viewer conscious of his environment; he wanted to bring about a sensitive consciousness-raising, as it were. The materials that Peeters selected for his works frequently had a very tactile appeal, while he simultaneously created a certain untouchability; thus he stuck candle tapers behind plastic foil, or placed mesh in front of cotton wool. He also used fire on canvases, leaving behind traces of thick smoke, or burned holes into plastic, the so-called “Pyrographies.” With these – often white – works he was visually closely related to the German ZERO artists, but there was also a clear relationship with Nouveau Realisme; Peeters also used ready-mades, which he bought in inexpensive stores and isolated in the work of art. In these, he had a preference for modern, clean, industrial materials, such as plastic and nylon. He once said: “with my work, I have always wanted it to look just as fresh as if it was in the HEMA (the Dutch chain store). It must not be artified… I had no need for artistic cotton wool.” Henk Peeters also worked with natural processes, such as light and water reflections, and with ice, rain, snow and mist. Art and life should be joined together inextricably. And thus, in 1961 Henk Peeters became a work of art himself, when Piero Manzoni appointed him as one; this was certified and signed by the Italian artist. Until his death (Hall (NL), 2013), Henk Peeters restored artworks from the Nul period and remained an active spokesman for the group.