FTN-blog

Crafting his films, Jeroen Eisinga (born in Delft in 1966) presents the viewer with a trial without resolution more than once. As long as the film lasts, there is no escape, redemption, clarification, or climax. Thus, the audience is confronted with their helplessness. Despite believing that they have control over their lives, intervention is not always possible. Eisinga states, “Art should elevate an experience, I try to capture a moment that strikes you before you think about it.”

In Distant Sheep (1997), a sheep breathes heavily, as it lies on its back. Unable to turn itself over, the sheep will die without intervention. For the viewer, it remains unclear how the film ends – there is only the moment. The audience is a forced witness, unable to intervene.

Human drama and emotions play a crucial role in Eisinga’s body of work. He describes his pieces as romantic. In Springtime (2011), we see how a swarm of bees takes over Eisinga for twenty minutes, burying his head and bare chest. With this film, Eisinga realizes the sublime moment in which discomfort and pleasure coincide. The fear of experiencing reality is intertwined with the beauty of that same experience.

The romantic notion is also present in the film Longing from 2004. A dead zebra lies on a black and white checkered floor. Eisinga captures the process of decay, the beauty of deterioration. Eisinga explains:

“The German word Longing does not refer to a place or a person, and moreover, it can refer to something that has been but also to something that has never been. It is, therefore, more abstract. My film is about this absence, the emptiness, something that is not there, the hiatus, and the pain felt because of it. It is about the pain of not knowing. If you can study an ‘object in itself,’ then I try to study ‘the absence of that object.’ It is, therefore, about missing, not knowing.

www.ftn-books.com has ten van Abbemuseum title on Eisinga now available.

Charles Nypels was born on October 31, 1895 at 38 Grote Staat in Maastricht. In 1905, the Nypels family moved to 3 Minckelersstraat, which is still the location of the printing and publishing house Leiter-Nypels. Charles’ father sent him to the Lettergieterij Amsterdam as a volunteer in 1917 for “higher education,” where he came under the supervision of S.H. de Roos. However, his interest in the printing industry was not of such high quality for him to inspire much trust and expectation for typographical development. Amsterdam with its many facets of life and culture appealed to him more than the letter case and the press. Later, back in Maastricht, he could hardly appreciate his job at the office with a meager weekly salary. In April 1918, he wrote, “The terrible cold shower of being thrown into an office after a particularly peaceful and strict upbringing, constantly in the company of headache-inducing machines and annoying telephone ringing, while the other residents are nothing but number-magicians, in which magic I had to become proficient as well. At first, such a business seems like a chaos of idiots and it takes a while before one masters the situation. That’s where I am now.”

During that time, he showed more interest in literature, especially French literature, and prints, and there were hardly any signs of the future master printer. Nevertheless, the constant communication with De Roos must have borne fruit. Charles began to turn his knowledge of typography and literature into printing plans. It did not stop at plans, as evidenced by his first printing of Poésies by De Nerval in 1920, more than just a successful attempt. On June 3, 1920, he wrote, having realized his abilities, “There is so much to do for a simple book.”

www.ftn-books.com has several Nypels titles available.

When Dierk Maass embarks on his expeditions and picks up his camera, the experience and challenge of pushing his own physical and mental limits become a crucial prerequisite for his artistic process. The hours spent hiking in high altitudes, where the air is gradually taken away with each step, reduce the focus to the essential. This is evident in the artist’s minimalistic photo equipment, which usually only includes two to three lenses and never a tripod. It is also reflected in his portraits and landscape shots. Even the titles of his works are limited to the essential: they simply give the GPS coordinates of where they were taken.

The essential remains. In the series SENSE° OF ‘DISTANCE“, INCIDENT° OF ‘LIGHT“, and HIGHWAY° TO‘ HEAVEN”, the self-taught artist plays with intentional overexposure and partial blurriness. Backgrounds disappear, outlines become blurred, and colors become important points of reference. The essential remains. HIGHWAY° TO‘ HEAVEN“ reveals the many elements of the lovingly constructed memorial sites, known as Animitas, along the busy Pan-American Highway. The camera’s focus is on what reminds people of those who are no longer with us.

TENSION° OF‘ SECLUSION“ captures abandoned, inhospitable areas. Nature reclaims what was once hers: overgrown buildings and machinery, as well as untouched lagoons, surreal color schemes, and breathtaking landscapes bear witness to the traces of human civilization.

What has always been and will remain for a long time to come: the secluded Dolpo region in Nepal. The originality and authenticity of the people there have captivated Dierk Maass, inspiring him to create a series titled SHADES° OF‘ DOLPO“. The weather-beaten face of an old woman that reflects the barren landscape and the demanding living conditions; Sherpas who proudly defy the high altitudes and extreme temperatures, and the land itself.

www.ftn-books.com has one Maass title available.

Jules Chéret (born May 31, 1836, Paris, France—died September 23, 1932, Nice) was a skilled French poster illustrator and graphic designer, earning him the title of “the father of the modern poster.”

After completing an apprenticeship in lithography in 1849 and honing his drawing skills, Chéret received his first major commission in 1858 for Jacques Offenbach’s operetta Orpheus in the Underworld. From 1859 to 1866, he continued to create posters and book jackets in London, and also designed packages for perfume manufacturer Eugène Rimmel. With Rimmel’s support, Chéret opened his own lithography firm in Paris in 1866.

This move allowed Chéret to maintain full artistic control and develop a revolutionary approach to design. Unlike most lithographers at the time who had artists create designs that were then copied onto a stone by skilled craftsman, Chéret worked directly on the stone. He used bold brushstrokes, crosshatching, stippling, and watercolor-like washes to create dynamic images. Over time, his style shifted from the intricate decorations of the Victorian era to a more dynamic style, characterized by central figures, hand-lettered titles, simplified backgrounds, and vibrant colors and textures. Chéret drew inspiration from various sources, including the whimsical romances of Rococo painters Antoine Watteau and Jean-Honoré Fragonard, the intense compositions of Baroque painter Giovanni Battista Tiepolo, and the flat colors and stylized lines of Japanese woodblock prints.

Widely recognized as “the father of the modern poster,” Chéret’s influence on the medium continues to be felt today. In this rewritten text, we see a skilled French poster illustrator and graphic designer, known for his innovative approach to design, and admired for his use of unique artistic influences and techniques.

In 1890, the French government bestowed upon Chéret the Legion of Honour, commending his contributions to the progression of printing and his aid to the world of commerce and industry through the creation of a unique art form. Throughout his illustrious career, Chéret crafted over a thousand posters promoting music halls, theaters, artists, and various products such as drinks, medicines, and lamp oil. His influence extended to a distinguished group of graphic designers and artists, including Henri de Toulouse-Lautrec and Alphonse Mucha, who were inspired by his groundbreaking work.

www.ftn-books.com has a title om Cheret available/

Serge Charchoune, a visual artist and author, hailing from Russia in 1888, but eventually settling in France, where his life journey reached its conclusion in 1975. Charchoune’s pursuit of artistic expression led him to Paris, where he found solace after deserting from the Russian army in 1912. Initially drawn to Cubism, he soon became infatuated with Dadaism, after connecting with renowned figures such as André Breton, Max Ernst, Tristan Tzara, and Francis Picabia upon his return from seeking refuge in Barcelona during World War I. While his attempt at establishing his own Dada movement in Paris proved futile, Charchoune’s lasting contribution to the movement remains his poem Foule immobile, translated from Russian to French with the assistance of Philippe Soupault. This dadaist masterpiece, titled Foule immobile, comprised of 9 rounds for 25 voices, embodies the radical spirit of the movement. As described by Felix Philipp Ingold in his introduction to the work, it bears resemblance to the early surrealist experiment of cadavre exquis. Illustrated by Charchoune himself, the poem was first published in 1921; however, despite its intended purpose of being sung, it was never performed. In 1922, Charchoune embarked on a trip to Berlin with the intent of returning to his home country, Russia. In the German capital, he established his own Dada group, held an exhibition at Herwarth Walden’s Der Sturm gallery, and met fellow artists Theo van Doesburg and El Lissitzky. However, there is no evidence of his involvement with the radical Berlin dadaists of that time. Disgusted by the stories of the atrocities of the Russian Revolution, Charchoune chose to make a comeback to Paris in 1923. There, he charted his own artistic course, drawing inspiration from Dadaism, Surrealism, and Constructivism, culminating in the publication of forty books between 1924 and 1975, the year of his passing.

www.ftn-books.com has Charcoune titles available

Hans Hofmann (1880–1966) holds a significant position in postwar American art. He is widely praised for his lively, vibrant canvases and acclaimed as a profound mentor for generations of artists, beginning in his homeland of Germany and later in New York and Provincetown. Hofmann’s influence was vital in the development of Abstract Expressionism.

From 1900 to 1930, Hofmann explored and studied in Munich and Paris before returning to Munich. In 1933, he moved to New York and then to Provincetown, where he remained for the next forty years. Throughout this time, Hofmann’s transition from distinguished art instructor to pivotal modern artist brought him into the circle of prominent figures in twentieth century art, such as Henri Matisse, Pablo Picasso, Georges Braque, Wassily Kandinsky, Betty Parsons, Peggy Guggenheim, Sonia and Robert Delaunay, Lee Krasner, Jackson Pollock, and many others. His thriving career was guided by the postwar modern art dealer Sam Kootz, cemented by the art historian and critic Clement Greenberg, and solidified by the unwavering support of his first wife, Maria “Miz” Wolfegg (1885-1963).

Upon reaching the age of 64, Hofmann debuted his first solo exhibition at Art of This Century in New York in 1944. Despite the demands of his teaching career, he dedicated himself to painting until the closure of his school in 1956. This shift in focus allowed for a renewal of his artistic pursuits during the height of the Abstract Expressionism movement. Over the next two decades, Hofmann’s extensive body of work was heavily influenced by Matisse’s use of vibrant colors and Cubism’s unconventional approach to form. He coined his own artistic theory, known as “push and pull,” which emphasized the interconnectedness of form, color, and space.

From his initial landscapes of the 1930s, to his later “slab” paintings of the 1950s, and his abstract pieces towards the end of his life in 1966, Hofmann continuously pushed the boundaries with his experimental color combinations and formal contrasts, transcending traditional genres and styles.

www.ftn-books.com has Hoffmann titles available

Horst Heinen, born in 1927 in Berlin and deceased in 2001 in the same city, was a renowned German painter and graphic artist. He honed his skills at the Meisterschule für Grafik und Buchgewerbe, as well as the Hochschule für Bildende Künste Berlin, under the guidance of esteemed professors Ehmsen, Klatt, and Schumacher. As a freelance artist, Heinen resided and worked in Berlin, dedicating himself to his craft.

www.ftn-books.com has one Heinen title available

A self-taught creative mind, Rudolf Jahns is lauded as a leading figure in German Constructivism, distinguished by his pursuit of harmony in aesthetic and musical form. For Jahns, art served as a vehicle through which he could translate hues, illuminations, and his personal encounters with nature into a sublimated medium through constructive abstraction.

This petite watercolor piece, titled Composition (Constr.), hails from 1924, a period in which Jahns had honed his craft and carved his own distinctive path after experimenting with an array of abstract forms. The portrait-oriented work comprises a composition of small squares and rectangles of varying sizes and shades that overlap at their borders, creating a subtle sense of space. The color palette predominantly features soft and muted tones of green and blue, occasionally shifting into earthy browns. Adding a splash of vibrancy amidst the earthy hues is a bright red square, a striking blue rectangle, two yellow and two orange rectangles, as well as a handful of delicate pink shapes. Of these vivacious color bursts, the most arresting is the red square situated in the upper portion of the painting, serving as the focal point and tying together the other highlights in the lower half. Each of these bolder shapes has been artfully coordinated, allowing them to seamlessly blend into the overall collection and collaborate with the surrounding shades of blue and green to create a harmonious and dynamic impression overall.

Studying a composition such as this proves difficult as it appears effortlessly natural, overshadowing the intense effort put into its creation. Apart from the meticulous planning, an eminent sense of balance between the elements was necessary, a skill that can only be partially learned and labeled as such. Even a casual observer can attribute a certain aura to the work, loosely associated with nature, the countryside, and the light at a particular time of day. And it is precisely these moods in the works of Rudolf Jahns that have earned him the title of poet, as a square was not simply a shape for him, but the tangible expression of a profound experience in his life in this world.

www.ftn-books.com has several Jahns titles available.

I do not generally endorse business-oriented publications, yet I will gladly depart from this practice for the sake of this exceptional Dutch magazine. A friend of mine recently brought its existence to my attention and they kindly dispatched a promotional copy to me. Upon perusing it, I was swiftly convinced to procure a subscription.

RODE HARING is a provocative and insightful art magazine that challenges conventional perspectives and highlights the avant-garde in both historical and contemporary art. Known for its sharp visual design and critical approach, RODE HARING brings together diverse voices from the world of art, theory, and design.

In a recent issue, RODE HARING dives into the conceptual world of Daniel Buren, a leading figure in minimal and conceptual art. The magazine explores his use of stripes as a visual language and his interventionist works that question the role of the museum, the gallery, and the context of art itself. Buren’s practice of in situ works and institutional critique is analyzed through essays and exclusive interviews.

Another feature centers on the Oenovis artists’ association, a vibrant collective of contemporary creators who work across disciplines and media. The article explores the roots of Oenovis, its experimental exhibitions, and the collaborative spirit that drives its members. The magazine documents recent projects and discusses the group’s contribution to expanding the boundaries of modern artistic expression.

A historical reflection is offered in an in-depth piece on Michel Seuphor, the Belgian-French writer and artist who played a pivotal role in documenting and theorizing abstract art in the 20th century. RODE HARING revisits Seuphor’s influence on European modernism and highlights his friendships with key figures like Mondrian, Kandinsky, and Arp.

Finally, the issue showcases the intricate and innovative designs of Chris Wegerif, a designer known for his refined work in the Arts and Crafts movement. Through visual essays and critical commentary, the magazine illustrates how Wegerif’s furniture and architectural elements remain both timeless and deeply connected to early modernist ideals.

With its unique blend of contemporary critique and historical perspective, RODE HARING continues to be a vital platform for those who seek to engage deeply with the visual arts.

For subscriptions please visit : www.rode-haring.nl