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Robert Combas (1957) (continued)

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I know of many artist who at one time in their lives were invited to decorate a church or execute stained windows. In the Netherlands it is Marc Mulders who is the best example. Acroos the border many other names like Matisse, Rothko, Foujita and Chagall and recently i discovered that Robert Combas made his own contribution to this kind of art. The exhibition was held at the Vieille Église Saint-Vincet in Merigmac / France.

Impressive paintings of arguably the best of all Figuration artists. Catalogue is available at www.ftn-books.com.

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The French artist Robert Combas has become known as one of the protagonists of “Figuration Libre”, the French form of new figuration in the 1980s. Robert Combas was born at Lyon in 1957, he grew up in Sète, where he also began to study at the “École des Beaux-Arts” in 1974. Between 1975 and 1980 he completed his studies at the DNSAP in Montpellier. In those years the Punkrock movement had decisive influence on Robert Combas. In 1978 he even founded a band, together with Hervé di Rosa and Richard di Rosa. In 1979 Robert Combas, Hervé di Rosa and Ketty Brindel published the art magazine “Bato”. From those days on, Robert Combas was able to establish himself as painter and graphic artist in the style of “Figuration Libre”. Along with Rémi Blanchard, François Boisrond and Hervé di Rosa, Robert Combas was a founding father of the artist group of the same name. Comics and graffiti inspired his works, Pop Art and Arabian art can be named as additional sources of influences. Strong and striking colors with black contour lines increase the effect of his images. As of the late 1980s an increasingly mystical tendency can be observed, Robert Combas’ works are darker and gloomier. In the 1990s Combas expanded his field of artistic activity: He writes poetry and works photographs over with felt tip pen, assemblages are also part of his oeuvre. After the turn of the millennium music became a great source of inspiration for Robert Combas once again, and he made large paintings in cooperation with rock bands. “Ma peinture c’est du rock”, my painting is rock music, said the artist about his work.

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DADA en Drachten ( Dr8888 )

Most people do not know it and personally i did not realise the relationship between Drachten/ Dr8888 and the Dada and Merz mouvements until recently.

But it appears that some of the artists from Friesland had strong relationships with Dada artists and even were influenced by them . In the same way Dada artists freed themselves from the bourgeois morality, Werkman tried to do the same, although freedom in morality was less important than having a free spirit, searching freedom in his art. The Museum in Drachten finally realized some decade ago that their true importance was this heritage. Dada in the Netherlands is nothing else than Dada in Friesland and Drachten. They made a choice and exploited this heritage since and with one of these exhibition a magnificent catalogue was published, which is now available at www.ftn-books.com

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Peter Stämpfli (1937)

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The reason for this blog is that i lately found sand deiscovered some interesting Pop Art artists in Germany and Switzerland and Peter Stämpfli is one of them.

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Born July 3, 1937 in Deisswil, Switzerland Stämpfli is a Swiss painter of the Pop Art movement. A major figure in 20th century painting, Peter Stämpfli has always scrutinized everyday life: our environment, our objects, our gestures. However, far from being satisfied with the simple appearance, his work has endeavored to reveal the depth and the strength that it contains. From 1963, the artist devotes himself to a work of inventory of all the repetitive details of everyday life, which he methodically fixes on a white background. The artist isolates, from 1969 until today, the pattern of the tire, emblematic of our industrial society; it quickly becomes his favorite theme and offers countless variations. Interview with an artist who appropriates his entourage in amazing simplicity to invent his own icons… an absolutely Pop art.

www, ftn.books.com has added a Centre Georges Pompidou title recently. It is the book published on the occasion of the 1981 Paris exhibition in the Pompidou museum.

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Pieter Stoop (1946)

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Two names triggered me to look a little closer at the works of Pieter Stoop. The fact that the book now available at www.ftn-books.com comes from the personal colelction of Henk Peeters and….. Rudi Fuchs, who was responsible for showing Stoop his works at the van Abbemuseum. Stoop was influenced by Soutine,de Kooning and van Velde and it shows, but what becomes clear after studying more works from him is that he deswtilled a style of his own from these influences.

the book below is now available at www.ftn-books.com

pieter stoop

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Vincenc Kramar (1877-1960)

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Vincenc Kramar (1877–1960) was one of the first collectors worldwide to recognise the importance of Picasso and Braque’s Cubism. Without a doubt, his collection, a substantial portion of which is now held in the National Gallery of Prague, had a profound influence on the development of several decades of Czech Modern art, but most of all the importance of the collection is that Kramar was one of the first to focus on Modern Art , this way buildinh a collection of unprecedented quality. Since his death there were several occasion where his scollection was shown to the public. One of the occsions was at the Museum Boymans van Beuningen in 1968, where the Kramar collection was shown, The beautiful ( typical Sixties ) catalogue is now available at www.ftn-books.com.

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Klaus Staeck (1938)

 

I always thought that Klaus Staeck was just a publisher, but now i have learned him not only being an art publisher but also a graphic artist and lawyer. His bond with Joseph Beuys and a political engagemnet is well know, but him being an artist by himself not. It is always nice to encounter a Staeck publiction. Always on the border of being an artist multiple. www.ftn-books.com has several Klaus Staeck publications available

Klaus Staeck grew up in the East German city of Bitterfeld. After passing the abitur in 1956 he moved to the West German city of Heidelberg where he lives down to the present day.

From 1957 until 1962 Mr Staeck studied law at Heidelberg, Hamburg, and Berlin before taking both state exams. He was admitted to the German bar in 1969.

Klaus Staeck is probably best known for his political poster art. He began to teach himself how to work as a graphic designer while pursuing his legal studies, creating posters, postcards, and flyers. In 1960, Mr Staeck became a member of Social Democratic Party of Germany (SPD). In the late 1960s he took part in local politics in Heidelberg. Over the years he created three hundred different motifs, drawing from current political discussions. He took sides for the poor, the environment, and for peace, urging his countrymen to join him and to interfere in political affairs. In his campaigns he employed claims such as, e.g., Deutsche Arbeiter – die SPD will euch eure Villen im Tessin wegnehmen (“German workers: the SPD seeks to take away your villas in Tessin from you”), or Die Reichen müssen noch reicher werden – deshalb CDU (“The rich must become richer yet, therefore vote CDU”).

First he made woodcut prints, while from 1967 onward he changed to screen printing. Mr Staeck managed to finance his political actions by selling his artwork in Edition Tangente publishing house which later came to be known as Edition Staeck. He worked together with other political artists and writers, most notably Joseph Beuys, Panamarenko, Dieter Roth, Nam June Paik, Wolf Vostell, Daniel Spoerri, Günter Grass, Walter Jens, and Heinrich Böll who publicly spoke out in his favour. At the beginning of the 1970´s Staeck began his long time collaboration with Gerhard Steidl. So far, Klaus Staeck was sued in 41 cases for his artwork to be banned from public, to no avail.[2]

Since 1986 Mr Staeck has been visiting professor at Kunstakademie Düsseldorf. In April 2006 he was elected president of Berlin Akademie der Künste, succeeding to Adolf Muschg who had stepped down from this position late in 2005.

Klaus Staeck was awarded the first Zille prize for political graphic design in 1970, and the Großes Bundesverdienstkreuz in 2007.

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Oscar Lourens (1973)

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The following text comes from the site of Oscar Lourens. This is not the standard artist i follow , but one who’s works grow on you when you one have seen them on location.

THE ARTIST AS ARCHITECT
Oscar Lourens employs photography and film as means to bring the reduced space back to human dimensions. For the exhibition ‘Vormen van aarden / Ways to root’ (Apeldoorn, 2005) he draws upon the principle of magnification: using a scaffold construction and whitewashed plywood plates, Lourens creates ‘a new house for Helene’. Referring to the live-sized pinewood-with-cloth models that Helene Kröller-Müller had built on the Ellenwoude mansion near Wassenaar, which functioned as studies for the to-be-built museum. Likewise, Oscar Lourens’ creation is a blown-up but otherwise exact replica of one of the models of La Lue. But this ‘new house for Helene’ isn’t a study for the future architecture, but a new artistic attempt to realize the miniature model in original size. In 2005, Oscar Lourens trades his role of artist for that of an architect. For the owners of the La Lue farmstead he designs a square tower of 5 by 5 by 12 metres. The tower with a pointed roof consists of three floors on which two people can cook (ground floor), live (first floor) and sleep (second floor). The dimensions are loosely based on existing rooms in the La Lue buildings. Important to Lourens is also the choice of a compact and slender tower that fits the landscape. The materials, style and position to the other buildings and the landscape are chosen accordingly. This is the first time Lourens creates a new architectonic space of his own design. Herewith, his miniature art has grown to true architecture in which the wandering spectator/visitor is able to truly experience the actual space. That the building has left the realm of art and entered that of architecture is also clear from the reactions of neighbours and visitors of La Lue. Many of them think the tower is a restored building that has been a part of the farmstead all along. The tower led me to ask Oscar Lourens whether he hadn’t rather chosen for the profession of an architect instead of being an artist. After an initial hesitation, he confirms. This hesitation is very understandable, because my question is like that of the farmer of the Lewis Caroll’s novel, who asked Mein Herr to accept the existing landscape as the best possible map. For is the tower of La Lue not the best means to truly take possession of architectonical space?

the book Possessing Space is available at www.ftn-books.com

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Enrico Baj ( 1924-2003)

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Enrico Baj was born in Milan on October 31, 1924, and studied at the Accademia di Brera. In 1951 he, along with Sergio Dangelo and Gianni Dova, promoted the Nuclear Movement, and had his first solo exhibition in Milan at the Galleria San Fedele. Upon meeting Asger Jorn in 1953, the two founded the International Movement for an Imaginist Bauhaus, which reacted against the forced rationalization and geometry of art, and the following year organized the International Ceramics Meetings at Albisola in Liguria, Italy.

Baj’s artistic experiments resulted in multicolored collages made from many different materials. On one hand, his work emphasises the joyful experience of painting with diverse materials; however, it also provides a social commentary and strong criticism of the contemporary world. Such is true for his Generali and Parate militari of the 1960s, and it is even more evident in works dating from the 1970s, such as I funerali dell’anarchico Pinelli (1972) and Apocalisse (1979). In the 1980s, he abandoned collage temporarily and made a series of works called Metamorfosi e Metafore (1988) in which his images were based on imagination and fantasy. In 1993, he started his Maschere tribali cycle, which consisted of assemblages that used waste materials of modern civilization to create ironic and brightly colored masks. These pieces were followed by Feltri (1993-98) and Totem (1997).

Throughout his life, Baj was in close contact with poets and intellectuals, both in Italy and abroad, and collaborated on numerous occasions to produce prints or original multiples for several artist books. In 1999, the artist once again reconfirmed his strong links to literature by producing a series of 164 portraits inspired by the Guermantes of Marcel Proust. He also collaborated with many artists, including Lucio Fontana and Piero Manzoni. In 2001, he started a series of works dedicated to the history of Gilgamesh, the King of the Sumers. Enrico Baj died in Vergiate (Varese), Italy, on June 16, 2003.

Enrico Baj publications are available at www.ftn-books.com

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Koen Wessing (1942-2011)

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Koen Wessing was and remains on of the Netherlands most important icons photo journalism. Wessing started as freelance photographer in 1963. In his early years he became renowned for picturing the May protest of 1968 in Paris, the occupation of the Maagdenhuis of the University in Amsterdam in 1969, and later the military coup in Chili in 1973. Later Wessing produced more uniquely powerful work in Ireland, Guinea-Bissau in West Africa, Nicaragua, El Salvador, China and Kosovo.

Seen retrospectively, his work from South America probably received the most attention throughout the years. His images of the 1973 coup in Chile against the progressive government of Salvador Allende, as well the insurrection in Nicaragua and his reportage of the massacre during the funeral of Archbishop Romero in El Salvador, were all striking and alarming. His engaged work in these countries made him an internationally renowned photographer.

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Regrettably, Koen Wessing was never able to see the finished exhibition as he passed away in Amsterdam in the morning of February 2, 2011. Until the last moment he had been involved in the preparation of the exhibition. Knowing that the show was going to happen gave him a lot of strength during the last period of his life.

www.ftn-books.com has the Stedelijk Museum catalogue on Koen Wessing now available.

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Keith Haring (continued)

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Keith Haring is a regular subject for these blogs i write and a good reason is the small collection of books and other items i bought recently. In all there are 25 different titles added to my inventory. Among these my personal favorit ” Nina’s book of Little Things!”.

A highly personal title he made in 1988 for the birthday of Nina, his friends daughter.

A “thank you” present for staying at the Clement family home. A gift that will delight generations to come and which is now available at www.ftn-books.com

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