van Gogh drawing discovered…big news?

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Yesterday it was announded and confirmed that a newly discovered van Gogh drawing from the Fentener van Vlissingen collection is an authentic van Gogh. In such a case i really wonder if the drawing is considered important because as the vanGogh museum says …it is a missing link…or is it beautiful and valuable. Valuable it certainly is now with its authentication, but beautiful?   i do not think so…. it is a study and beside the depicted windmills i do not find it appealing at all. For instance compare the studies of Jongkind, his contemporary artist which all shine in these little formats.  A new van Gogh discovered is nice, but the way it now is presented as one of the art discoveries of this decade is undeserved. Here is the article from the van Gogh Museum on this sketch and for really great books on Van Gogh please visit www.ftn-books.com

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AMSTERDAM — The Van Gogh Museum here on Tuesday announced the discovery of a previously unknown drawing by Vincent van Gogh, which the museum said was completed about a month after the Dutch post-Impressionist artist arrived in Paris in 1886. The museum’s researchers studied the style and history of “The Hill of Montmartre with Stone Quarry,” dated March 1886, and found documents they said confirm that it is a lost van Gogh.

“It’s a big day today,” said Teio Meedendorp, a senior researcher at the Van Gogh Museum who studied the subject, style, technique, materials and provenance of the drawing, and found the relevant documentary evidence to support the attribution.

The museum owns the largest collection of van Gogh’s works anywhere in the world, including more than half of the artist’s drawn oeuvre — approximately 500 drawings as well as his sketchbooks.

“It’s a nice robust drawing by Vincent and he captured the hill of Montmartre very well,” Mr. Meedendorp said.

Mr. Meedendorp said that the drawing is particularly interesting because it is more in keeping with van Gogh’s earlier style than his later work when he lived in Paris. He added that the drawing shows that van Gogh’s work evolved during his crucial years in the French capital from a formal style that he learned at the art academy in Antwerp just before arriving in Paris, and became increasingly experimental.

“It’s a kind of stylistic missing link between his Belgium and Paris time,” said Fred Leeman, an independent van Gogh expert and curator of exhibitions by the artist, who is a consultant to the Van Vlissingen Foundation, which currently owns the drawing.

The last time a new van Gogh drawing was discovered was in 2012. A year later, a new van Gogh painting, “Sunset at Montmajour” (1888), was also found. But these findings are relatively rare. Since the publication of the complete catalog of van Gogh’s works in 1970, another nine drawings and seven paintings have been added, Mr. Meedendorp said.

When it came to the Van Gogh Museum for research in 2012, the drawing was owned by an American private collector whose Dutch relatives had purchased the work from a gallery in the Netherlands in 1917, Mr. Meedendorp explained. But the museum did not publicize the finding at the time, at the request of the previous owner.

Aside from Mr. Leeman, no other experts outside the museum have yet seen the drawing.

Research by the Van Gogh Museum in Amsterdam, the world’s leading expertise center on the artist, found that “The Hill of Montmartre with Stone Quarry” came into the hands of van Gogh’s sister-in-law, Johanna van Gogh-Bonger, a meticulous keeper of van Gogh’s materials, who numbered it “123” in her inventory.

Mr. Meedendorf said that when he took the drawing out of its frame, he found the telltale number, “123,” written on the back.  

The discovery of “The Hill of Montmartre with Stone Quarry” led the Van Gogh Museum to reconsider another drawing that it had in its collection, which had been part of the original donation from the van Gogh family heirs. That drawing, titled “The Hill of Montmartre,” also completed in 1886, is drawn from a very similar perspective of the Parisian hilltop.

This drawing was originally thought to be by van Gogh, but in 2001, it was questioned because it was so dissimilar to work from his Paris period, and then discredited.

“Now that you have a set of two, it’s clear that it was a style he maintained during the first part of his time in Paris,” said Mr. Leeman.

By comparing these two drawings side-by-side, researchers realized that the works were incredibly similar, and both were attributed to van Gogh.

“It’s the same materials, the same paper, it’s quite clear that these were both done by the same hand at almost the same time,” said Mr. Meedendorp.

“One thing led to another,” he added. “If this was a van Gogh drawing then the other one had to be one as well.”

Gotthard Graubner (1930-2013)

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I can not describe the qualities of Graubner better than the text on Wikipedia i found on this fascinating German artist.

Graubner’s art is characterised by his unique philosophy and the use of color in his work. He began developing his own style in 1959, while he studied under K.O. Götz. Before that, Graubner’s work had been characterised by using color sparingly, in shapes and on the edges of the canvas, but, from 1955 onwards, he had already experimented with different approaches towards color, at first with watercolor and later on canvas. Instead of focusing on shapes, he began to use color lavishly.

About 1960, the artist produced flat panel paintings with surfaces built up of differentiated nebulous color formations, the application of color in layers of varying degrees of transparency opening up the picture surface, producing a color formation of indefinite depth comparable to the paintings of Mark Rothko.

In the 1960s, Graubner mounted picture-size colored cushions onto his paintings and used Perlon fabric in an attempt to enhance the spatial effect of color surfaces. These works were displayed in Alfred Schmela’s gallery in Düsseldorf.

Between 1968 and 1972 he did what he called “Nebelräume” [“Fog Spaces”].

Graubner never allowed his style to be dictated by the current fashions or trends. He developed his own style of using color as the medium through which his work announced itself, allowing it to work independently of any connection to any kind of representation or theme. According to Helga Meister, his works have sensibility, feeling and meditative force.[50]However, his paintings are only at first glance monochrome; as a closer look reveals, they are in fact polychrome. They “breathe”; they live; their colors, even though fixed on canvas, have movement that stirs the imagination as much as his “fog-spaces” of the sixties, in which he continued the romantic tradition of Caspar David Friedrich. Moreover, his “color-space bodies” (“Farbraumkörper”) have been described by art historian Max Imdahl as “picture-objects” in which “color-space and body, intangible vision and tangible facticity cooperate in a special interrelationship.”

The following titles are available at www.ftn-books.com

 

Felim Egan (1952) and the Stedelijk Museum

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I had never heard of Felim Egan, but when i saw one of his paintings ( for the first time at Seasons gallery in Den Haag) i became an admirer. A free kind of constructivist abstraction in soft colors, which looks like Irish mist over a landscape. Later i found 2 publications on this artist which are now available at www.ftn-books.com so when i encountered these i decide to write  a blog on an artist of whom i did not know very much except that he had exhibited in the Stedelijk Museum. I searched and found this article on his Felim Egan’s own website : www.felimegan.ie

FELlM EGAN was born in lreland in 1952 and studied at Belfast and Portsmouth, England before attending the Slade School of Art in London. He then spent a year at the British School at Rome in 1980 before returning to Dublin. Since then he has lived and worked at Sandymount Strand and the Docklands, on the edge of Dublin Bay.

He is known as a painter of restrained eloquence, who sparingly deploys a vocabulary of hieroglyphic motifs over monochromatic expanses of colour. His paintings are built up slowly with layers of thin colour applied to the surface and stone powder ground into the acrylic. The work is universal in spirit and at the same time emotionally intimate. His paintings are epiphanic, in that they convey to us the essential nature or meaning of something of which we were previously unaware. He is an abstract artist, a painter of quite formal abstract images, and yet his work is tied to the place he lives and works, to the long horizons, big skies and empty sands of the Strand and sea. In this way his abstract paintings are almost landscapes, with a magical quality that his neighbour, the poet Seamus Heaney, has aptly described “a balance of shifting brilliances”.

Egan has exhibited widely across Europe with 72 solo exhibitions since 1979 including major shows at the lrish Museum of Modern Art, Dublin,1996 and the Stedelijk Museum in Amsterdam, 1999. In 1981 he represented Ireland at the Xie Biennale de Paris and in 1985 at the San Paulo Bienal. In 1993 he won the prestigious UNESCO prize in Paris, and in 1995 the Premiere Prize at Cagnes-sur-Mer. His work hangs in numerous public collections including the Stedelijk Museum, Amsterdam; the Irish Museum of Modern Art, Dublin; the Ulster Museum, Belfast; the Metropolitan Museum of Art, New York, and the collection of the European Parliament. Major Commissions include; Dublin Castle; National Gallery of Ireland: O’Reilly Hall, UCD; Meeting House Square, Temple Bar; Pavilion Theatre, Dunlaoghaire; City Quay Building, Dublin; New Providence Wharf, London; the National Gallery of Ireland; Deutsche Bank, UK and Dublin and a large scale public ‘sculptural work’ at Cork Street, Dublin.
In 2005 he completed an installation of paintings at Deutsche Bank Headquarters, Dublin.

Felim Egan is a member of Aosdána.

start FTN art with Siep van den Berg

Today is another milestone for me as a bookdealer in art books, because today i started on these pages ………FTN art

There will be irregular additions to this page, but all works depicted on these pages are for sale and guaranteed originals. The first original is a drawing/collage by Siep van den Berg who made this in 1979.

tekening/collage uit een serie constructivistische tekening/ Collage in blauw die Siep van den Berg heeft gemaakt op 16 augustus 1979 in Andelaroche ( Fr.) De tekening is eerst opgezet in balpen waarna er blauwe vlakken zijn bijgeplaatst ( of omgekeerd).
De tekening is gedateerd 16 9 79. Met notitie “Heleen Jarig Geweest” en signatuur in zwarte inkt …SvdB.

Kunstenaar : Siep van den Berg
titel: Heleen Jarig Geweest
techniek ; balpen en collage in blauw
afmetingen ; 27,7 x 20 cm.
gesigneerd : SvdB in zwarte inkt
gedateerd : 16 9 79
conditie : MINT-

price : euro 150,–

shipping Netherlands : euro 8,60

worldwide shipping costs: 11,95

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Mathias Fels (1922-2009)… galeriste extraordinaire

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One of the great gallery owners of our town was Mathias Fels. Her started the gallery in 1955 and the gallery has since become one of the leading galleries in the world. With the death of Mathias Fels the gallery stopped, but until that date they organized some very important exhibitions and with these exhibitions catalogues were published using special designs, papers and in many cases special covers . The covers in some cases being original lithographs. As one of the leading art scene figures, Fels has become an icon for many gallery owners and together with gallery Denise Rene in Paris he always had a keen eye to present new modern artists in his gallery.

www.ftn-books.com has some beautiful and important Fels publications available.

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You can find an excellent interview( in french)  with Fels at:

http://www.visuelimage.com/ch/fels/

Sonia Delaunay (1885-1979) and the pochoir print.

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If ever there was one artist who raised the bar of the art of the small /pochoir print to tremendous proportions it is Sonia Delaunay. Delaunay had her peak during the Art-Deco period and it shows. Here is just a selection of Delaunay prints found on Google .

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Her use of colors, patterns is typical for Delaunay and her art has proven to be timeless and typical Avant Garde for the time she was most productive. The same as Mondrian, she used primary colors, but in a much more free way of making her  compositions. Where her husband Robert Delaunay was influenced by cubism and made colorful cubist interpretations of reality, Sonia stayed true to her abstract compositions with just one side step into the world of fashion for which she made colorful costume  and fashion designs.

For me the first pochoir print i ever saw was the cover of the Stedelijk Museum catalogue for the Sonia Delaunay exhibition in 1958. Willem Sandberg did the design of the catalogue, but what makes this catalogue so special is of course the original pochoir print by Sonia Delaunay on the cover.

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This publication is available at www.ftn-books.com

Dieter Roth (1930-1998)

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I really do not know why it took me so long to appreciate the art of Dieter Roth, but the only reason i can come up with is that his books published by Hansjorg Mayer were such a long time considered “remainders” at the bookshop of the Haags Gemeentemuseum and it was impossible to find buyers for them. Since…. times have changed because the same books that could not be sold ( even at ridiculously low prices) are now the ones that are sought after by collectors and institutions all over the world and when you look at these closely they all have some qualities in common. The printing is executed by the best printers possible. The lay out and design are done in many cases by the artist which makes them more artist books than reference books and because of the series character the books itself are almost a work of art of their own.

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My tip for the future is whenever you find such a book, buy it…even you think it is a little expensive these books will be important not only as a book but also as a work of art in the decades to come.  http://www.ftn-books.com has some excellent and rare Dieter Roth items available.