Posted on Leave a comment

Aat Veldhoen (1934-2018)

Perhaps he wasn’t the greatest dutch artist that ever lived, but still Veldhoen deserves his place in art history . He was the artist who almost “commercially” destroyed himself, by making his prints available for ALL and in someway inventing the multiple for the masses.

He drew his subjects directly on the plate and made rotaprints from these plates. Used cheap papers and sold these prints, which were not signed nor numbered from a cart run by Robert Jasper Grootveld for the extremely small amount of 3 dutch guilders. It meant that with so many works by Veldhoen on the market, his paintings and drawings were not valued as they should be.

Aat Veldhoen was a well known and colorful figure in the dutch art scene and had a 20 year relationship with Hedy d’Ancona, the former minister of Culture from the Netherlands.

 

Posted on Leave a comment

Hans Hartung (1904-1989)

Schermafbeelding 2018-09-09 om 10.52.39

One of the exhibitions i thought to be one of the very best during the time i was working at the Gemeentemuseum Den Haag, was one curated by Franz Kaiser on the abstract artist Hans Hartung . Just one word describes the exhibition….impressive.

It showed that the art Hartung created was not just random, but a well thought over creation of abstract art in which a small sketch was turned into a large painting.

Here is the text on the exhibition:

Hans Hartung (b. Dresden, 1904) was regarded as one of the founding fathers of French Lyric Abstractionism, the European counterpart of American Abstract Expressionism: a term in which the word Expressionism refers to an extremely physical and spontaneous manner of painting. The members of the movement wanted, as it were, to work out their emotions on the canvas without any form of symbolism.

Hartung’s paintings displayed a plain ground covered with rough and apparently spontaneous brushwork, with all the paint spatters and brush marks that go with that way of painting. After his death, therefore, people were astounded when the study of unfinished pictures revealed that his paintings had not in fact been created in a wild and spontaneous way, but by carefully filling in predetermined outlines based in every detail, right down to the smallest flecks of paint, on sketches prepared in advance. This exhibition, which the Gemeentemuseum is holding to mark the hundredth anniversary of Hartung’s birth, reveals an artist who would better be described as a conceptual artist, were it not for the fact that conceptual art did not exist as a movement when he produced his works. In this first Dutch retrospective of Hans Hartung’s work, early drawings are presented next to the equivalent paintings, and early versions alongside later versions. The similarities in terms of motif are astonishing.

More about Hans Hartung: www.fondationhartungbergman.fr

There are some nice publications on Hartung available at www.ftn-books.com

Posted on Leave a comment

Minimal Art at the Haags Gemeentemuseum

minimal gm a

 

It was in the early Eighties that i learned of the Minimal Art collection and history of the Haags Gemeentemuseum.

Crucial for the collection was the interest of almost all modern art curators in Minimal Art. Starting with Enno Develing who introduced the key artists of the Minimal Art scene for the first time in a large exhibition in 1968. Among them Donald Judd, Dan Flavin, Carl Andre and of course Sol LeWitt. Many of them would receive solo prentations in the years to follow, but this first time was a breakthrough for Minimal Art. The catalogue is arare book nowadays and i am lucky to have a copy for sale at www.ftn-books.com

After this first exhibition many exhibitions would follow. Enno Develing, Flip Bool, Rudi Fuchs and Franz Kaiser all took an interest in Minimal Art and because of this interest , exhibitions with LeWitt, Andre and Judd were organized in the decades after this first  1968 Minimal Art exhibition. I doubt that none was as important as this very first one, because after this first one Minimal Art was established as an art form, but another aspect that makes this first ( Develing ) exhibition important is that the relationship between the Gemeentemuseum and these artist was not only an artistic one.  The museum and its curators became friends with practically all Minimal Art artists, resulting in an ever growing collection of Minimal Art.

There is a nice link to a tribute to Sol LeWitt to be found over here:

http://www.gem-online.nl/files/media/gem/2016/sol_lewitt._a_tribute/ebook_sollewitt_web.pdf

Posted on Leave a comment

Oliver Boberg ( 1965 )

Schermafbeelding 2018-12-01 om 14.40.47

The first time i was confronted with the work by Oliver Boberg was when he had  a large Retrospective exhibition. This was in 2004 at the Fotomuseum and i was very much impressed. Specially the large scale photographs had a feel of desolation and now i have bought for FTN Art two of his greatest photographs at a much smaller scale but still these are originals and very well worth collecting. The book i had on Boberg was sold years and years ago, but this is even better for the true admirer. The photographs are both from a very small edition of 20, numbered and signed and in pristine condition. Framed in a quite expensive frame and come from a collector from the US.

Memorial by Oliver Boberg , 2002,  edition 20, number 14/20, C-Print and signed by Boberg.

Frame measures 51 x 42 cm. C print is 35 x 25 cm. , condition is MINT

boberg memorial a

 

“Erdgeschoss” by Oliver Boberg , 2001, edition 20, number 13/20, C-Print and signed by Boberg.

Frame measures 51 x 42 cm. C print is 38 x 15 cm. , condition is MINT

boberg erdgeschoss a

Please visit the FTN art section on this page for more information

Oliver Boberg was born in Herten, Germany, in 1965. He studied art history at the University of Würzburg, Germany, from 1985–86, before transferring to the Art Academy Nürnberg to study painting from 1986–93. Since 1997 Boberg has garnered attention for his photographs of what appear to be bleak, uninhabited architectural sites but are in fact models constructed by the artist in his studio. The sense of neglect that haunts these scenes contradicts the painstaking meticulousness applied to their fabrication. In Boberg’s work from the late nineties, the elegant formalism of his compositions contrasts with the subject matter—color-drained stairwells, roof decks, and building facades painted to dissemble age and dilapidation. Works such as Park (1998) and Playground (2000) offer barren sites of disrepair despite their sunny titles. Boberg created his first films for the series Night Sites (2002–03). In these films, the artist utilizes familiar Hollywood devices—fluorescent blue lighting that typically permeates suspenseful night scenes and eerie settings like an abandoned alley or fog-coated forest—to promise a drama that never unfolds. In 2003, with his Building Shell series, Boberg returned to his characteristic photography of elaborate models, this time recreating multistory edifices in the midst of the construction process. In 2004 the artist began to work for the first time with black-and-white photography for his Pagesseries. In Pages and Walls (2007), Boberg revisited his photographic investigation of highly constructed, formalist sites of inattention. Inattention gives way to tragic neglect in his series Slums, begun in 2008, which focuses on the derelict makeshift dwellings composed of serrated tin and other urban debris. For this series, the artist juxtaposed his photographs with computer-generated drawings.

Solo exhibitions of Boberg’s work have been organized by the Museum of Contemporary Photography in Chicago (2001), Musée de l’Elysée in Lausanne (2002), Kunstverein Hannover (2003), and Duolun Museum of Modern Art in Shanghai (2005). His work has also been included in major group exhibitions such as Experiment at the San Francisco Museum of Modern Art (2000), Moving Pictures at the Solomon R. Guggenheim Museum in New York and the Guggenheim Museum Bilbao (2003), and Artist’s Choice: Herzog & De Meuron, Perception Restrained at the Museum of Modern Art in New York (2006). Boberg has been recognized with the Bayerischer Staatsförderpreis für junge Künstler, Fotografie (1997) and Förderpreis für bildende Kunst der Stadt Nürnberg (2005), among other awards. Boberg lives and works in Fürth, Germany.

 

Posted on Leave a comment

Tineke Griffioen retires on 12/1/2018

tineke sepia

Finally, after 43 years of being one of the most loyal and dependent employees of the Gemeentemuseum  Den Haag, Tineke Griffioen decided to retire from her jobs at the museum. From Prentenkabinet to DTP she made not only a career within the museum, but was also very much involved into the well being of her colleagues. The museum will miss this very friendly and dependent employee who had an expertise in prints and drawings. The set depicted in this blog comes from a Siep van den Berg sketch book he made in France in 1990 and shows that the following pages from the book were not accidentally filled in, but that each drawing developed into a very nice Constructivist composition. This very set was presented to Tineke for being the colleague that she has always been to me….Thank you and have a great retirement!

tineke berg

PS. Other sets are available at www.ftn-books.com , Please inquire

Posted on Leave a comment

Giovanni Nicolai ( continued )

Schermafbeelding 2018-11-27 om 07.25.44

This is to announce that FTN Art will represent Giovanni Nicolai with his art work.

From now on a selection of his art will be available in the FTN Art section of these pages. Feel free to contact me if you want more information. The start will be  a series of affordable sketches at euro 150,–. Executed in different techniques with Crayon , pencil and paint on paper. If you desire information on his paintings please sent me a mail and i will propose you  a selection of paintings currently available.

Posted on Leave a comment

Bob Bonies (1937)

Schermafbeelding 2018-09-02 om 10.10.41

For me the only true “Hard edge” artist in the Netherlands is Bob Bonies, however Michiel Morel refers to the art of Bob Bonies as a rearrangement of FORMS AND COLORS.

I read his excellent article and it is unfortunate that it is only available in dutch, but for those who understand the language here is the link :

Bonies: Ordening van vorm en kleur (periode  1964 – 1968) (3)

As you can read in the article . Bonies stayed true to his art of rearranging , shifting and placing forms and colors in a new context and one of the earliest silkscreen that was published in a larger edition was the one he made for the Stedelijk Museum catalogue VORMEN VAN DE KLEUR

in which his contribution stands out together with the one Ellsworth Kelly made for the same publication. This Wim Crouwel designed publication is available at www.ftn-books.com

left Bonies and right Kelly

I have a lifetime admiration for Bob Bonies. He was one of the first artists i personally met at the Gemeentemuseum and a few years ago i bought a small collection of his publications from another bookdealer who had bought them from a Bonies collector and within one of the publications i found the birth card of his son Jiri. Even this card shows the quality of his works. The card is for sale too together with many other Bonies publications.

 

 

Posted on Leave a comment

Walter Gramatte (1897-1927) a German expressionist rediscovered.

Schermafbeelding 2018-08-31 om 16.41.11

Totally original…that is what i think of Walter Gramatte. His style is as recognizable as some of his contemporaries. Schiele, Klimt and and Klee are recognized within a split second and Gramatte is one of these artist who’s works are recognized as soon as you encounter and see them.

Since two decades there has been a new a renewed appreciation for his works, but publications on Gramatte are still rarities. Nevertheless www.ftn-books.com has a few titles in its inventory.

Walter Gramatté was born in 1897 in Berlin and died in 1929 in Hamburg.

Gramatté had a very short (15 years) career but a very productive one – paintings, drawings and prints with subjects of figures, portraits, still life’s, landscapes and book illustrations.

He fought in the First World War and was disillusioned as a result.  Like many artists of his generation his works depicted the individual and existential states of being. (Gramatté book, Kirchner museum). He was married to the Russian composer Sonia Fridman-Gramatté.

Posted on Leave a comment

Fausto Melotti (1901-1986) and Paul Klee

Schermafbeelding 2018-08-26 om 11.19.33

One of the nicest and arguably best published catalogues i discovered recently is the catalogue which was published on the occasion of the KLEE-MELOTTI exhibition at the Musea d’Arte in the city of Lugano ( Suisse) in 2013. Personally i think the Suisse excel in their exhibitions and their catalogues which are published with these exhibitions. Take Zurich, Bern, Basel and Lugano. All cities house tremendous beautiful museums and each of them has its specialities.

This Klee-Melotti Catalogue fascinates in 383 pages and shows the relations between both artists. I did not know Melotti that well because i rarely encounter publications on him, but as soon as i laid my eyes on his works he became an instant favorite. His rows of staged sculptures look to have no connection at all, but look closely and they become one sculpture….

Schermafbeelding 2018-08-26 om 11.30.47

i really love an artist who works in this way. For me Piet Dirkx has the same qualities. Dirkx combines objects and colors and present them as one sculpture.

The Klee-Melotti catalogue is now available at www.ftn-books.com

Posted on Leave a comment

Another rare Constant Cobra title

Schermafbeelding 2018-08-23 om 15.59.04

Bibliotheque d’Alexandrie Paris # CONSTANT # 1959, NM+++/Mint–

This is how it is described in the headline of the object in my internet store at www.ftn-books.com

Schermafbeelding 2018-08-23 om 16.06.07

You will have a hard time in finding this title on the internet and if you find it, my guess it is it will be in less condition than the one i have on offer. This is an extremely rare title and an absolute ” must have” for all serious Constant (book) collectors. It is not that thick but its contents is highly important and one of the first special Constant publications that was published on Constant.