I already showed in an earlier blog the 2 Tuzina works i have for sale, but now can add another work. This was made some years later (2002) as the 2 previous ones.
Measures 29 x 17 cm. / Mint condition .For the price please mail me.
I have always admired the works by Toon Verhoef. The first time i met Verhoef was when i was introduced to him when he visited the Gemeentemuseum on the occasion of the preparation of an exhibition. Since i have tried to obtain a work by Verhoef for our collection, but never succeeded…… i came close when i bid on an extremely large work which came from the former collection of the Artesia bank. It was sold at AAG and when i researched the work i found out that the composition was not random, but an abstract representation of the british queen Elizabeth II parading before Aboriginal warriors.
Verhoef is for me a fascinating artist and his compositions are timeless and brilliant.
there is a nice documentary on Youtube where Verhoef explains the history of the painting and the “Elizabeth” picture.
and for a nice selection of Verhoef titles visit www.ftn-books.com
It is 31 years ago that i saw a work by Kiefer for the first time I and was really impressed . I remember the occasion….the occasion the Anselm Kiefer exhibition at the Stedelijk Museum Amsterdam. Grey, sombre , large paintings with scenes that reminded of war, devastation and ruins . Later i learned that the German history and the Holocaust were main themes Kiefer always used in his works. The history of Germany being one of the main subjects in his extremely large paintings. The Stedelijk Museum bought one of the paintings for its collection. “Innenraum” is a large painting ( 280 x 311 cm.) , but small compared to other Kiefer works.
The exhibition was a great succes and since i encountered several other Kiefers in museums. One stands out, impressive and it’s size is overwhelming. ( almost 10 meters in length) and is a must see whenever you visit the North of Spain.
Only with Wind, Time, and Sound (Nur mit Wind, mit Zeit und mit Klang), 1997
Acrylic and emulsion on canvas
473 x 944 x 22 cm
Guggenheim Bilbao Museoa
( the following text comes from the Art Story site)
It is the Anselm Kiefer’s monumental, often confrontational canvases were groundbreaking at a time when painting was considered all but dead as a medium. The artist is most known for his subject matter dealing with German history and myth, particularly as it relates to the Holocaust. These works forced his contemporaries to deal with Germany’s past in an era when acknowledgment of Nazism was taboo. Kiefer incorporates heavy impasto and uncommon materials into his pieces, such as lead, glass shards, dried flowers, and strands of hay, many of which reference various aspects of history and myth, German and otherwise. Influenced by his contemporaries Joseph Beuys and Georg Baselitz, as well as by postwar tendencies in Abstract Expressionism and Conceptual art, Kiefer is considered part of the Neo-Expressionist movement, which diverged from Minimalism and abstraction to develop new representational and symbolic languages.
It is sad to learn that the Chinese photographer Ren Hang ended his life yesterday at the age of only 29 years.
A very promising young photographer, a talent like Araki and Ryan McGinley, who dared to be different in his approach to contemporary (nude) photography. As FOAM remembered in a short blog. Provoking and poetic at the same time and totally different from his Chinese colleagues. A talent which can be recognized immediately.
The exhibition in the FOAM museum in Amsterdam is well worth visiting and lasts until the 12th of March
and to get a great overview of his works, please visit chose the year and click on the photograph for some highly original and great photographs by Ren Hang.
Jacques Monory is “world famous” in France, but outside France he is hardly known by anybody. Not many works are to be found outside France and if one is encountered it rarely is in relation with the Figuration Narrative of which mouvement he can be considered as one of the founders. The works that can be found outside France are almost always in relation with international Pop Art scene. In the seventies Monory had a nice exhibition in the Stedelijk Museun. In which he presented paintings with the subject New York….title of the exhibition VELVET JUNGLE / N.Y. a Wim Crouwel designed catalogue. ( catalogue is available at www.ftn-books.com ) But despite his commercial focus on France , time acknowledges the talents and qualities of Monory and his works are now presented all over the world. Recent auction results prove the importance of this typical French artist who was frequently neglected in the last 40 years, but now finds his way to the collections of to the true connaisseur.
Here is a recent list of exhibitions during the last 14 years ( not complete )
There are multiple reasons to like the publication no 442. of the Stedelijk Museum Amsterdam. Published in 1968 on the occasion of the Eduardo Paolozzi exhibition this is a 100% original work of art . A serigraphie by Paolozzi in his typical Pop Art style. Folded as issued and when folded out an impressive large work of art. Design?….by Wim Crouwel who used the backside of the serigraphie for all the information on Paolozzi. A great Pop Art work of art and available at www.ftn-books.com
Everywhere i come across Lucebert (Lubertus Jacobus Swaanswijk) nowadays. Re-editions of his poems, paintings at auction and exhibitions in galleries and museums. There is a huge interest in his works since 20 years or so, but before that period he was hardly known as a painter , but nowadays he is considered as one of the leading dutch artists from the 20th century . In his early years he was very much influenced by Cobra , but soon he developed his personal style which for me is a crossing between Cobra and Art Brut. He became known for his poems, but when you ask about Lucebert nowadays, people think of him first and foremost as a painter and because of this interest it is harder and harder to find the early publications on his paintings and etchings. There are some by Nouvelles Images, but the most important ones come from the pubvlications series of the Stedelijk Museum Amsterdam. Publications in which original etchings were bound and therefore are highly collectable ( and expensive) publications. www.ftn-books.com has a nice selection of classic and collectable Lucebert publications.
for more information on Lucebert visit http://lucebertstichting.nl
There is no larger Modern Art Museum in the world that has no Clemente in its collection. From Amsterdam to New York the works by Clemente have spread all over the world. But for us in the Netherlands, it was important that Clemente had some exhibitions with the Art & Project gallery and from one of these exhibitions a beautiful little book was the publication result edition of only 800 copies). This and other Clemente books are available at www.ftn-books.com.
Clemente’s work spans four decades. His work is stylistically varied, inclusive, erotic, and nomadic. It embraces diverse mediums and diverse cultures as well, aiming at finding wholeness through fragmentation and witnessing the survival of contemplation and pleasure in our mechanical age.
Clemente’s work is rooted in political utopia and expresses an anti-materialistic stance. In the 1970s he moved from photography to drawing and anticipated the return to painting of the 1980s.
His work is also nomadic. In the 1980s he divided his time between India and New York. While briefly associated with Neo-Expressionism he took an interest in collaborative works both with Indian craftsmen and with painters like Basquiat and Warhol, and poets like Robert Creeley and Ginsberg in New York. In an interview with The Brooklyn Rail, Clemente commented “these poets had been looking at the East for inspiration and I was also anxious to evade the materialism of the West.”
In the 1990s Clemente explored intensely erotic imagery, inspired by the Tantra traditions both of India and Tibet, and turning contemporary preoccupations with identity and sexuality into an occasion to ask questions about the nature of the self. In the 2000s Clemente underwent a darker and grotesque phase, returning in recent years to luminous images of repose and transformation.
Since the 1980s until today, Clemente has also chronicled New York intellectual and social life through a great number of portraits, contributing to the revival of a genre until then somehow discredited.
Clemente’s art has been presented in solo and group shows internationally. Major retrospectives have been held in the 1990s at the Philadelphia Museum of Art, at The Royal Academy in London, at the Centre Pompidou, Paris and at the Sezon Museum of Art, Tokyo. Clemente’s art was also featured in 1999-2000 at the Solomon R Guggenheim Museum, New York, and at the Guggenheim Museum, Bilbao. In the 2000s retrospectives were held at the Irish Museum of Modern Art in Dublin, at the Museo MADRE, Naples and at the Schirn Kunsthalle, Frankfurt. An exhibition of self-portraits and of Clemente’s own version of the Tarot Cards was held at the Uffizi Gallery, Florence in 2011. (the text and information above comes from Wikipedia).
Last week i was in the Stedelijk Museum Amsterdam and was very much impressed by the Malevich and “white” rooms with Dekkers and Schoonhoven. White and nothing but white and it reminded me of the current exhibition at de Rijk Fine Art ( Noordeinde 95 /Den Haag).
Excellent, high quality, museum worthy paintings by ao Schoonhoven , Dekkers and Leblanc… in a totally different setting which was more a cosy living room ( including the dog ;-), than a gallery. The simplicity and in the same time complexity of the works, work very well in this setting. They do not need a museum presentation to show their true qualities. This exhibition lasts until the 26th of February so i advise you to take a look at the de Rijk gallery and see for yourself the qualities of this great and important gallery exhibition.
For publications on Schoonhoven, Dekkers and Malevich visit www.ftn-books.com
Because the Leopold Museum as a whole was a disappointment (see yesterdays blog), I focused on the other art inside the museum. I had seen all the paintings by Schiele and Klimt before, but were less familiar with the beautiful Munch and excellent series of Koloman Moser paintings which were exhibited. Especially the series by Moser were impressive and showed the transition into the more Modern art of the century to come. Next to the paintings there were some excellent examples of the Wiener Werkstatte exhibition and the combination of these 2 made the visit, except for the disappointing display of Schiele art, still worthwhile.
Born in Vienna, he studied at the Wiener Akademie and the Kunstgewerbeschule, where he also taught from 1899.
His designs in architecture, furniture, jewellery, graphics, and tapestries helped characterise the work of this era. Moser drew upon the clean lines and repetitive motifs of classical Greek and Roman art and architecture in reaction to the Baroque decadence of his turn-of-the-century Viennese surroundings.
In 1901/1902, he published a portfolio titled Die Quelle (“The Source”) of elegant graphic designs for such things as tapestries, fabrics, and wallpaper.
In 1903, Moser and his colleague Josef Hoffmann founded Wiener Werkstätte, whose studios and artisans produced a number of aesthetically and functionally designed household goods, including glassware, flatware, silverware, rugs and textiles. In 1904, he created the Apse mosaic and glass windows for the Kirche am Steinhof in Vienna.
In 1905, together with the Klimt group, he separated from the Vienna Secession. The same year, he married Editha (Ditha) Mautner von Markhof, the daughter to one of Austria’s great industry fortunes.
In 1907 Moser, due to internal conflicts and as his plans for reorganising the Werkstätte (to cope with financial problems) weren’t realised, withdrew from the Wiener Werkstätte.
Koloman was one of the designers for Austria’s leading art journal Ver Sacrum. This art journal paid great attention to design and was designed mainly by Moser, Gustav Klimt and Josef Hoffmann. His design for the cover of one edition of the art journal was later plagiarized by well known street artist and designer, Shepard Fairey.
Books on Moser and the Winer Werkstatte are available at www.ftn-books.com