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Walter Jacob (1893-1964)

Walter Jacob during WWI

In 1910, Walter Jacob (1893-1964) started training in decorative painting in Meerane, where he met Ernst Müller-Gräfe, who would be influential for Jacob’s artistic development.  In his early work, he created especially drawings, resulting from a lack of money.  After the First World War, Jacob was a student at the Dresden Academy and in contact with Robert Sterl, whose master student he was from 1919-20. 
Jacob is not very well known, but one look at his work and you can not only date it it as typical for the Interbellum, but you also can see that this is great German Expressionist art. It took some decades for him to be recognized as being of importance but finally in 1986 a special auction at Karl & Faber was devoted to him and his works. This catalogue and poster are now available at

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Frits van der Zander (1947)

Frits van der Zander

To be honest….i nveer had seen works by van der Zander before, but as soon as i discovered the catalogue Frits van der Zander/Schilder i thought his works to be inspiring. I remembered the first time i saw some paintings by Per Kirkeby and i felt the same emotions. They rfelect nature in some sort of way, bur are still almost abstract.

Since 1985, Frits van der Zander has been working on his sequence Genius Loci – ‘the spirit of the place’. The sequence is located at and limited by his home, a part of castle ‘Wynandshof op Gurtsenich’ in Houthem.

This has resulted in several exhibitions: the sequence Genius Loci I till IV, among others at Galerie Wolfs, Maastricht (from 1989), at Museum Van Bommel Van Dam, Venlo 1998 and at Musee d’Art Moderne et Contemporaine, Luik 1998 and also in de Oude kerk, Amsterdam in 1998. In 1994 the book ‘Frits van der Zander / Painter’ with text by Ben van Melick was published (isbn 90 802641 1 3).

The van der Zander book is available at

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Bernard Buffet ( continued)

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Readers will notice this second blog on Bernard Buffet. Buffet was a well known painter in the late Fifties and Early Sixties, but became out of fashion by the end of that decade. But lately there is a new interest in this painter and i can explain why. HIs gallery , galerie Garnier stayed with him during his career and never lost faith and secondly…..his way of painting in series was a way of producing a large number of paintings and i must say not all are of interest and have enough quality to convince, but there is one quality they have in common. These paintings have a style of their own. The Buffet style is there and it really is a style Buffet developed by himself. This makes these paintings stand out and the truly great ones are paintings one must admire. Perhaps Buffet is not the artist who has rose to absolute fame lije Picasso or Pollock. But his art is still there and with this art Buffet is a name which deserves a place in art history. has added some galerie Garnier exhibtion catalogues and has collected a nice series of exhibition catalogues by Garnier which are still available.

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10 great and iconic buildings, no. 1

This list is invented to make some quick and easy blogs for this month filled with festivities. I chose the buildings because i think they belong to the most important from all buildings realized in the last 100 years.

So here is no. 1. Falling Water house, by Frank Lloyd Wright

We have never visited this one, but hope that at some time we will. Whenever there is a chance to visit and enter a great building we do not hesitate and enter…. In the past there were the Empire state, Eifel tower, Musee Louis Vuitton, Atomium, the Glasshouse in Retiro Park Madrid and so many more, but this one is probably the highest on the wish list. Together with the Rothko chapel it would be the ultimate US destination for us.

Waterfall house by FLW

The house is build over the waterfall and combines the best in japanese landscape architecture together with the modernism of FLW. Build as a vacation home for the Kaufmann family, the building quality was far less than perfect. It was necessary to restore it in order to preserve it. But restoration has completed some decades ago and now the house is a museum and can be visited . has some nice Frank Lloyd Wright publications available.

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A Willem Sandberg Xmas card

I found this picture at the Herb Lubalin center who has this in its collection. A very nice and typical Willem Sandberg card to wish you a Merry Christmas in 1958.

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an old wish, but a new one from me….. a Merry Christmas 2021


Many Sandberg and Lubalin items are available at

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10 great and iconic buildings , no. 2

This list is invented to make some quick and easy blogs for this month filled with festivities. I chose the buildings because i think they belong to the most important from all buildings realized in the last 100 years.

So here is no. 2. the Rietveld – Schröder house, by Gerrit Rietveld

Rietveld Schroder huis

In 1924, Truus Schröder asked well-known Utrecht furniture designer Gerrit Rietveld to design a new house for her. A recently widowed mother of three, she wanted a dwelling completely attuned to her – and to her unconventional ideas about what a home should be. Having worked with Rietveld in the past, she knew his disdain for tradition. It was a match made in heaven.

Schröder played an important role in the design process. She knew exactly what she wanted: simplicity and a space that freed rather than constrained her…. and the result one of the most iconic houses which is still inspiring for many young architects. has some nice Rietveld publications available

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Kurt Kocherscheidt (1943-1992)

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Kurt Kocherscheidt was born on the 6th of July 1943 in Klagenfurt, Austria to Friedrich and Elisabeth Mayer. After the divorce of his parents in 1946 and the move of his father back to Germany, the most formative person in his youth became his grandfather August Mayer (1885–1958) whose deep friendship with Hugo Adolf Bernatzik, a famous ethnographer and explorer, awakened Kocherscheidt’s interest in geography, zoology and art in general.

In 1961, after completion of his school years in Klagenfurt and Friesach (his mother’s hometown), Kocherscheidt moved to Vienna to study painting at the Academy of Fine Arts under Professor Sergius Pauser. As a way of supplementing his income, during the summers he would restore gothic frescos, in his words: “the thought of financial stability” led him to move to Zagreb (then Yugoslavia, now Croatia) for two years (1963–1964) to study mural painting under professor Ivo Rezek at the Akademija Likovnih Umjetnosti, before returning to Vienna and completing his academic studies in 1965.  In 1967 he married and divorced his long-time partner Andjelka Feuer.

In 1968 Kocherscheidt became a founding member of the artist group “Wirklichkeiten” (Realities). At a moment when the prevailing trend in art leaned towards conceptual art, these artists were bound by their interest in traditional modes of production, such as painting and drawing, and the representational qualities they favored. During this period, Kocherscheidt was predominantly painting highly saturated imagined landscapes that included both homages to real horticulture and surreal futuristic elements rendered in a palette that recalled the Fauves. The group included several painters who were of his generation and active in Vienna at the time, including: Wolfgang Herzig, Franz Ringel, Robert Zeppel-Sperl, Martha Jungwirth (who joined in 1969), and Peter Pongratz. The Kocherscheidt exhibition pposter for the JOsef Albersmuseum is now available at

kocherscheidt bottrop a

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10 great and iconic buildings. no. 10

This list is invented to make some quick and easy blogs for this month filled with festivities. I chose the buildings because i think they belong to the most important from all buildings realized in the last 100 years.

So here is no. 10 by Mies van der Rohe. It is the National Museum in Berlin. Not only a very nice building but also one of the most important collections in the world. The Kandinsky’s and the Kirchner paintings are one of a kind and i always will remember them.

Just look at this building for more than a few seconds and be amzed by its beauty. Even teh Calder in front is impressive. has some nice publication from the Nationalgalerie and on Mies von der Rohe

Mies von der Rohe publication
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Martijn Sandberg (1967)

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Just a simple blog on a great artist and his ideas . I admire Martijn Sandberg for his art. Every few month i look at his site and find some new works that fascinate me . Just take a dive into Martijn’s ideas and visit the link below. An internet related project by Martijn Sandberg. An art work he exclusively made available on the internet

Martijn Sandberg ‘Image Messages’The work of Amsterdam based visual artist Martijn Sandberg (1967) constantly explores border areas, such as the tension between text and image, illegible into legible, the private and the public domain. ”I make Image Messages, image is message is image.” The image hides the message.
In the cut paintings, such as ‘Sorry No Image Yet’ and ‘Im Westen Nichts Neues’, there is a subtle play between the language of the image and the significance of the image, and this gives rise to questions. Here, even the lack of image seems to be elevated to an image by the artist.

The direct relationship between the image, the material bearing the image and the environment is also expressed in his site-specific works in public space and architecture. As in the ‘De Oude Weg Naar De Nieuwe Tijd’ artwork, integrated as a brick relief in the walls of the gates and the pavement of the Spaarndammerhart building, Amsterdam. Or in the sculpture ‘I Will Survive’ located at the border of a burial ground in Hardenberg, The Netherlands.

BTW. For those interested in the editions by Martijn Sandberg please visit his shop at :

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Hilla Rebay (1890-1967)

Hilla (von) Rebay

THis blog is on Hilla Rebay, born in Germany but living part of her life in the US. 

The inmportance of this artist is growing by the year and since i have acquired the extremely scarce original 1948 New York catalogue in which she explains what makes her paint in the way she does. The best i can do now is quote the German text which i found on Rebay. Catalogue available at

1948 schreibt Hilla von Rebay im Katalog zur Ausstellung Gegenstandslose Malerei in Amerika in der Städtischen Kunsthalle Mannheim und zahlreichen anderen Städten in Deutschland Folgendes:

„Gegenstandslose Malerei bildet keines der uns auf dieser Welt geläufigen Dinge oder Lebewesen ab. Sie will nichts anderes sein als ein schönes, rhythmisch gegliedertes Gebilde aus Farben und Formen, das durch seine Schönheit allein erfreuen soll. Die Proportionen der Leinwand oder des Blattes selbst bestimmen diese Gliederung, die wie ein musikalisches Kunstwerk kontraproduktiven Gesetzen gehorcht. Das Grundmotiv eines Bildes gibt den Ausschlag für seinen Aufbau, der dann dem Gesetz eines eigenen Rhythmus folgt. Ein solcher Kunst noch ungewohnter Betrachter wird diese Gesetzlichkeit nicht von vornherein erkennen; erst nach längerem Umgang mit diesem Werk wird er im Unterbewussten die Wirkung seiner Schönheit und Vollendung an sich erfahren und seine im Geistigen begründete lebendige Gesetzlichkeit zu verstehen beginnen.
Die gegenstandslose Malerei spricht zu denen, die für reine Schönheit empfänglich sind. Selbst wenn Formen wie Kreis, Viereck oder Dreieck Verwendung finden, Formen, die man in solchen Zusammenhang fälschlich als geometrische bezeichnet, so sind sie hier doch rein künstlerischer Natur. An und für sich betrachtet bestand die reine Form ja schon lange, bevor man etwas von Geometrie wusste, und Geometrie von sich aus war niemals imstande, diese Formen in Kunst zu verwandeln: das ist allein Aufgabe des Künstlers. …

Sicherlich ist es leicht, aus Farben und Formen ein Ornament oder einfaches Muster zu entwerfen; aber wie sich in der Musik eine Sonate durch Melodie, Rhythmus und Kontrapunkt vom einfachen Ton unterscheidet, den jeder anzuschlagen vermag, so ist es auch in der gegenstandslosen Malerei. Nur dass bei ihr, im Gegensatz zur Musik, das Auge als aufnehmendes Organ angesprochen wird. Mag der Betrachter zunächst einfach sein Gefallen am Spiel der Formen empfinden, so wird er allmählich doch dahin gelangen, auch die läuternden und entspannenden Kräfte eines Bildes zu erfahren, dessen Schönheit im Geistigen, nicht im Sinnlichen beruht. …

Vor Tausenden von Jahren gebot uns die Bibel, kein irdisch geschaffenes Bild zu verstehen. Heute endlich besitzen wir die Voraussetzungen, dies Gebot zu erfüllen. Religiös gesinnte Künstler empfanden die innere Verpflichtung als erste; sie verzichteten auf bloße Nachbildung der Natur und suchten dafür nach jener tiefen Konzentration und Selbstdisziplin, die zum Wesen des eigentlich Schöpferischen gehört.“