Wim Schuhmacher (1894-1986) was given the nickname the Master of Gray. He is often mentioned in the same breath as neorealists such as Raoul Hynckes and Carel Willink. His work can also appear otherworldly, but seems lighter in atmosphere, serene, and less ominous. As a self-taught painter, Schuhmacher took pride in his flawless technique, with no visible brush strokes. Using ochres, he enlivened gray tones to subtly evoke a fragile sense of life. The application of this unique silver-grey veil felt like a discovery and triumph, he later explained. It also earned Schuhmacher his nickname the Master of Gray. While he traveled extensively in Southern Europe, he did not seek out flourishing landscapes or picturesque villages bathed in Mediterranean sun. It was in the Italian town of San Gimignano that Schuhmacher perfected his faded world, where the light seems to come from everywhere and nowhere at once. Like other neorealists after World War II, appreciation for Schuhmacher’s work waned in favor of abstract, expressive art. However, when he was asked by the Gemeentemuseum Arnhem in 1960 to participate in the first major exhibition with his fellow predecessors, Schuhmacher declined. The war had driven a wedge between certain “old masters.” He refused to hang in the same exhibition as Pyke Koch, who had been on the “wrong” side.
After a brief period of schooling, Eric Kengen embarked on a journey of exploring different occupations, all the while pursuing his passion for drawing.
In 1982, a series of events culminated in his inaugural exhibition, which paved the way for him to fully immerse himself in the realm of painting. This art form became a vehicle for constructing his own identity. With the passing of time, a distinctive world took shape, characterized by a unique blend of ancient gestures, intricate connections, and a human form positioned under the auspices of the enigmatic and indecisive.
Enigmatic allure, the paradoxical pursuit of truth. Delicacy, loyalty, ancestry, sensuality, symbolic representations, and kinship: each element plays a significant role, eloquently expressed through lucid and unambiguous language.
This blog is meant to be a long overdue tribute to one of the artists I have admired in the first decade I was collecting art. I purchases my First KLEMENT at Arta in the early 70’s and realized when I visit my doctor, who has several Klements’ on the wall) that his art Is still appealing to me and has survived for 5 decades now.
Fon Klement’s journey as an artist began as a self-taught individual. After gaining recognition as a figurative painter and woodcutter, he ventured into the world of multicolored graphic sheets in 1960, using his distinctive technique known as “the relief cut board”. Gradually, recognizable forms made space for more abstract motifs, presented in a muted color palette.
The timing of Fon Klement’s rediscovery of the watercolor technique was impeccable, as he found himself at a crossroads in his artistic journey. The desire for change became increasingly strong, leading him on a quest that took him on a ten-week exploration of the Provence region. In his improvised studio in the southern French town of Lorgues, flowers were in abundance. Poppies, irises, roses, delphiniums, and hibiscus seduced the artist to continue pursuing the path he had previously embarked on: painting and watercoloring still lifes of flowers.
Since 1961, Fon Klement has been a member of Xylon, the international association of woodcutters, which regularly exhibits graphic art across Europe. The exhibition “Prints today in the USA”, featuring a comprehensive overview of Dutch artists’ prints including Fon Klement’s works, traveled extensively throughout the United States for many years. Fon Klement was awarded the Audience Prize during the “Grafiek Nu” graphic art biennial in Laren in autumn 1990, and later at the first international graphic art biennial in Maastricht in summer 1993.
Erwin Olaf has passed away at the age of 64, his management informed the ANP news agency. He was one of the most famous photographers in the Netherlands. Olaf has been suffering from emphysema for many years and a few weeks ago he underwent a lung transplant. Erwin Olaf started out as a documentary photographer, but he later focused on stage photography.
The family said in a statement that Wednesday morning’s death was unexpected. Although he recovered after a lung transplant, Olaf “suddenly became unwell and resuscitation efforts were unsuccessful.”
Futurism is Carrà’s first major artistic period. His research into dynamism and colour theory resulted in his masterpieces such as The Funeral of the Anarchist Galli in 1911, Woman on the Balcony in 1912, Plastic Transcendences in 1912
In 1916, just after the end of the First World War, his meeting in Ferrara with de Chirico and De Pisis led him to abandon Futurism and approach Metaphysical poetics. It was with these two artists that he established the theoretical principles of Metaphysical painting.
After a style initially influenced by that of De Chirico, he developed a very personal language with solitary and suspended atmospheres. Perfect examples of this new language are the paintings Mother and Child (1917), The Engineer’s Lover (1921) and The Pine Tree by the Sea (1921). This change led him to approach 14th- and 15th-century art, with references to Giotto and Masaccio.
From 1918, he began writing for the magazine ‘Valori Plastici’, so it is not surprising that in 1920 he began to paint according to the strict terms of the Novecento Italiano, also taking part in the 1926 and 1929 exhibitions at the Palazzo della Permanente in Milan.
Carrà continued to paint frantically until his death in 1966 in Milan following an illness.
Bianchi seeks the harmony of the elements by identifying the spatial dimension that emerges naturally from the combination of lines, shapes and volumes, emerging from the exaltation of material, its manipulation and essence properties that are the origin of true expression in the artist’s work. To do. From sophisticated research-driven combinations. The two monumental marble seats were originally designed in the cloister of the 17th-century Donna Regina Vecchia church to match its rich Baroque style, but are now recreated in his 18th-century Madre atrium. arranged to emphasize its typical neoclassical lines. At the same time, it proposes a new definition of space, an invitation to linger and contemplate. Beyond direct references to the art historical tradition, these two works raise questions related to the spatial and structural purpose of the work and its relationship to its surroundings, and are evocative and sensitive. It is symbolic of the way an artist works because it lives in the work in a way.
Adela Rodix is an artist, thinker, writer. She exhibits her works of art in leading galleries in Europe and America, such as Galerie Maeght. In her artistic career she is also known as Adela, R.D. Adela and Adela R. Duflos. She has a degree in History. Adela has also been a fashion and advertising model. From a Spanish-French family, she has been living in different countries, feeling herself as a pilgrim, a traveler. She lived for many years in Barcelona, Spain, and now she lives between Warsaw, Buenos Aires, Madrid and New York. She is also author of Light of Cultronia. Her new book The Weary Angel. will come in september 2022.
Elly Strick lives and works in Brussels and started teaching at the age of 25. She herself studied at the Academy in Groningen and at the Academy in Minerva and Jan van Eyck in Maastricht. She specializes in working on paper and uses mainly materials such as graphite, pigments and oil paints, but she also uses wood stove ash and silver and gold leaf to achieve proper alchemy. increase. For them, the potential for transformation underlies our existence. Her exploration of human nature combines a visual language that is both poetic and radical. Ellie Strick held a solo exhibition at MHKA in Antwerp (B, 1999). De Pont, Tilburg (Netherlands, 2006). Van Abbe Museum, Eindhoven (Netherlands, 2006). Mainz Museum (Germany, 2012). Reina Sofia National Museum in Madrid (Spain, 2014) and 1700 La Poste, Montreal (California, 2018). Her work has won the Philip Her Morris Award, the Charlotte Koehler Award and the Jeanne Austing Award.
Kijkduin has became part of the City of Den Haag, but in its early years of its existence around 1920 it became part of a large plan . a new villa park was planned. #Meer en BOSCH # was to become an exclusive part of the city near dunes and sea with architecture of the very best of dutch architects and best of all…..yes…. a large part of the original plans were realised, but Kijkduin is still unknown by the majority of architecture fans and vistors to Den Haag. Villa’s by Duiker made this one of the most wanted and exclusive parts of Den Haag and surroundings and very well worth a visit and a walk in the park and after a walk on the beach and for those who visit Kijkduin and still not tired please walk another 500 meters to the HEMELS GEWELF by James Turrell.
A nice small book published by ARTOTEEK is now availabel at http://www.ftn-books.com. It tells the story of the artist village KIJKDUIN in the Interbellum
Self made architect and furniture designer is known in a very small circle of admirers. Among them were Cor and Jean Rosbeek, the founders and owners of the famous Rosbeel printers in Nuth. These brothers commissioned Zeekaf to design the in and outside of their printing facilities in Nuth in 1977 and 1991.
Beside this building he became famous for some very functional furniture. This Herman Zeekaf is now getting more and more fame , because his designs are timeless.
Others have known him from a Interior Design shop he had in the city of Heerlen. His life was filled with design, furniture and architecture and in some projects he had the oppertunity to combine all into one great work of 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