About 10 years ago we/ I (in the Nethrelands )did not know about BLACK FRIDAY and its discounts, but since that time BLACK FRIDAY discounts have become established over here too.
The problem is that discounts are only given in the 4 days of the BF weekend, but i will change this al little bit.
+ a discount of 10% will be applicable until December 1st, 2024.
At www.ftn-books.com you will receive not only a 10% discount when you order from Friday 24th of November 00.01 hrs until Monday the 27th 23.59 hrs. a minimum of USD 100,– ( excluding postage).
Order over USD 100,– and use BF2310 to receive this immediate discount during the Black Friday weekend
After i have packed and sent your order you will receive a personal discount code by email which will be valid for ALL your purchases at www.ftn-books.com until the 1st of December 2024
This makes your order during the BF weekend much more attractive. Enjoy your shopping at www.ftn-books.com
Wim Schuhmacher (1894-1986) was given the nickname the Master of Gray. He is often mentioned in the same breath as neorealists such as Raoul Hynckes and Carel Willink. His work can also appear otherworldly, but seems lighter in atmosphere, serene, and less ominous. As a self-taught painter, Schuhmacher took pride in his flawless technique, with no visible brush strokes. Using ochres, he enlivened gray tones to subtly evoke a fragile sense of life. The application of this unique silver-grey veil felt like a discovery and triumph, he later explained. It also earned Schuhmacher his nickname the Master of Gray. While he traveled extensively in Southern Europe, he did not seek out flourishing landscapes or picturesque villages bathed in Mediterranean sun. It was in the Italian town of San Gimignano that Schuhmacher perfected his faded world, where the light seems to come from everywhere and nowhere at once. Like other neorealists after World War II, appreciation for Schuhmacher’s work waned in favor of abstract, expressive art. However, when he was asked by the Gemeentemuseum Arnhem in 1960 to participate in the first major exhibition with his fellow predecessors, Schuhmacher declined. The war had driven a wedge between certain “old masters.” He refused to hang in the same exhibition as Pyke Koch, who had been on the “wrong” side.
www.ftn-books.com has multiple publications on Schumacher available.
ainter,draftsmanandgraphicartist Hans Ebeling Koning (born 1931 in Bilthoven) studiedatthe A.K.I (Artez) in Enschede from 1952 to 1956. From 1960 untilhis1987,heworkedasadrawingandpaintingteacheratthisacademy. In the1960s, Ebeling createdworkthatCorningreferencedthePopArtmovement.Hewastheninspiredbythe concept ofzeromotion.Hisworkconsistsofavarietyofmediums,includingpenandinkdrawings,gouacheonpaper,oilpaintingsoncanvas,andscreenprints.Hisworkhasreceivedvariousacclaim,includingwinningthe SNS Gelderland ArtPrize in 1994. Hisworkhasbeenexhibited in prestigiousmuseumssuchasthe Stedelijk Museum (1976) andtheHeino Museum (2003).
Van Acker creates paintings and drawings that combine attention to detail with a sense of composition. While this alone is not enough to produce quality art, Van Acker’s greatest achievement is to seduce the viewer to study the details and then step back to record the overwhelming totality of the art. The ability to create paintings. At the opening of his exhibition, he was impressed by the sight of people walking up to the paintings and then coming back. It’s clear that Van Acker is a music lover, and it shows in his artwork. Therefore, his eight paintings that make up “Franciscus”, depicting all the birds of the world, were inspired by Olivier Messiaen’s opera “Franciscus”, which in turn was a great influence on this opera. It is not surprising that the catalog says that it has been received. It was caused by the sound of birds. This background information is not necessary to enjoy Van Acker’s work, but it does add something special to his paintings.
Canan Tolon, a resident of Istanbul and San Francisco, is a language graduate with a background in philosophy and literature from the French High School in Istanbul. In 1976, Tolon obtained a design degree from the Edinburgh Napier University. Building upon her educational journey, she pursued her studies in interior design in Germany before completing her interior design degree at the Middlesex University in London. In 1983, she further expanded her knowledge by receiving a graduate degree in architecture at the University of California, Berkeley. Tolon’s impressive body of work has gained recognition through inclusion in various collections and participation in numerous exhibitions both in Turkey and internationally.
The painting process is demystified by the modest artist, who exhibits clarity in his work. The paintings, in terms of style, may shift between the figurative and the abstract realms. During the 1980s, the artist produced grand-scale abstractions, subsequently incorporating female nudes. In recent times, trees and architectural structures have been introduced by the artist, although the subject matter has always been significantly decontextualized through simplification. Herreros’ forms are intricate and distorted in various manners, resulting in harmonious juxtapositions such as supple versus edgy, recognizable versus unfamiliar, and so on. Just as the objects in his paintings undergo alienation, the figures themselves undergo transformation. They are flattened, showcasing vacant expressions and existing in a perpetual state of contemplation. The artwork exudes tranquility, bestowing upon it a metaphysical essence and a timeless allure.
Jean-Robert Ipousteguy, a renowned French painter and sculptor, passed away on February 8, 2006 in Dun-sur-Meuse, his birthplace. Born on January 6, 1920, he adopted Ipousteguy as his artist’s pseudonym in the 1950s, taking his mother’s maiden name. Raised in Lorraine, he made the move to Paris in 1938. Seeking to hone his craft, Ipousteguy attended evening classes at the Robert Lesbo Unit, where he studied painting and drawing. Although he lacked formal academic training, his determination led him to become a self-taught artist, albeit largely underappreciated during his lifetime.
Following World War II, Ipousteguy immersed himself in painting and ventured into designing stained glass windows. In 1947 and 1948, he contributed two frescoes to the embellishment of the Saint-Jacques le Majeur in Montrouge. After relocating to Choisy-le-Roi in 1949, he shifted his focus exclusively towards sculpture, gradually transitioning from abstraction to a more figurative style influenced by surrealism. His talent as a sculptor earned him an invitation to participate in the prestigious Salon de Mai, thanks to the support of Henri-Georges Adam, one of its founding members.
In 1962, Ipousteguy held his first exhibition at the Galerie Claude Bernard in Paris, marking a significant milestone in his artistic career. He went on to showcase his works at Documenta III (1964) and Documenta VI (1977) in Kassel, Germany. Additionally, in 1964, he had the privilege of representing France at the Venice Biennale, where he received accolades for his exceptional artistic contributions. Recognition continued to pour in, as he was appointed Chevalier de la Legion d’Honneur in 1984.
Ipousteguy returned to his hometown of Dun-sur-Meuse in 2004, where he spent the final years of his life. His remarkable artistic journey came to an end in 2006, and he was laid to rest at the Cimetiere Montparnasse in Paris.
www.ftn-books.com has the Vweranneman and other catalogs on the artist now available.
The happiest and almost forgotten slapstick artist from Italy is Benito Jacovitti. He was introduced to the Dutch through his illustrations for the gigantic book Pinocchio, which was available in 1967 with a subscription to Margriet. Many must have enjoyed it since, without realizing that they were face to face with one of the most important Italian comic creators. In 1970 he appeared in the comics magazine Pep with his creation Cocco Bill and soon managed to divide the readers into extreme haters and loyal followers. Apart from Cocco Bill, two other of his comics were also published in Pep. The adventures of the little Indian Chicken Leg and a long adventure of Zorry Kid, a wrought-up parody of the famous TV series Zorro. Jacovitit’s popularity with his fans was so great,
The drawing on the wall here dates from a later period, at the end of his career. In the 1990s he founded a fan club magazine in Italy, in which articles about his work and life alternated with reprints of old work. All that under a newly made cover. This cover of Jacovitti Magazine #4 shows everything that characterizes his work. The rubber figures with the big noses and even bigger feet, the busy composition sloshing against the edges of the picture, the exuberant use of sound effects (onomatopoeia) and the cheerful extras with which he filled every nook and cranny of his artwork. The only thing missing is a salami on bones, one of its absurd features. What you can also tell is the way he worked. Jacovitti always drew very large and he did not make the outline of his figures in one go. Instead, he drew each line twice, then filled in the center with a scratchy ink pen. He then generally did the coloring on the back of the drawing. This was possible because the thick black lines were visible through the paper. Dutch comics creators who claim to be influenced by Jacovitti René Uilenbroek , Mars Geringen and Mark van Herpen .
www.ftn-books.com has the classic PINOKKIO (Pinocchio) by Jacovitti and Collodi now available in Dutch
Peter van Poppel belongs to the post-war generation of new realists, which emerged in the seventies. He stood apart from any group and developed himself completely independently. He unfolded his own style by orienting himself to the great painters of all centuries and studying their masterpieces. He received his education in Utrecht (School for Graphic Arts) and still resides in the Dom City. The city of surrealism has not left him unaffected. Peter van Poppel paints with great attention to detail, with humor and tenderness, a loving and naive realism with alienations in form. He strings together a litany of small things and beloved people from his field of vision. He prefers to seek the child in the human being, as if he wants to offer the comforting feeling of paradise.
Started in 1966 at the Utrecht art market, followed by solo exhibitions every few years in Amsterdam at Galerie “Jurka” and Galerie “Petit”. Exhibitions in Utrecht at Galerie “De Reiger” and Galerie “Jas”.
Peter van Poppel is represented by Galerie Lieve Hemel at fairs such as Art Amsterdam, Realism, and Pan in Amsterdam, and Tefaf in Maastricht.
www.ftn-books.com has the GROOT ATELIER book published by Querido now available.
Born in Lomazzo, Italy, on August 6, 1926, Francesco Somaini embarked on his artistic journey after completing a law degree at the Università di Pavia in 1949. He sought guidance from Giacomo Manzù by attending his courses at the Accademia di Belle Arti di Brera in Milan. Making his debut in the world of art in 1948 at the Rassegna di Arti figurative sponsored by the Rome Quadriennale, Somaini made his first appearance at the Venice Biennale in 1950. During the mid-1950s, he crafted sculptures made of iron conglomerate, which foreshadowed his involvement with the Italian Art Informel movement.
Somaini’s artistic achievements took center stage during the late 1950s at both the Venice Biennale in 1956 and the São Paolo Bienal in 1959. His outstanding talent garnered him the First International Prize for Sculpture at the latter event. This success in Brazil led to numerous exhibition invitations throughout Italy, including a showcase of his work at the Italian Cultural Institute in New York in 1960. In 1961, he was honored with the esteemed French Art Criticism prize at the Deuxième Paris Biennale. Adhering to the principles of Art Informel, Somaini aimed to expand his sculptural language by incorporating a broader range of materials. He actively participated in a multitude of national and international exhibitions throughout the 1960s.
By the late 1960s, as his Informel phase neared its end, Somaini shifted his focus to creating large-scale works. In the 1970s, he produced a series of drawings and photomontages envisioning the integration of sculptural elements within urban settings. Notable among these were the Bridge–Square design proposal for Gustav Gründgens Platz in Düsseldorf (1980) and the Anthropomorphic Garden and Baignade for the Parc de la Villette in Paris (1982). Concurrent with these explorations, Somaini developed a novel carving technique utilizing high-pressure sand jets.
The dynamic element was introduced in his work during his Tracce series in 1975. This involved rolling a matrix along a clay trench, resulting in an imprint called traccia (trace). Somaini showcased these new works in his solo room at the Venice Biennale in 1978. From the mid-1980s onwards, the artist returned to creating large-scale compositions. Notable solo shows by Somaini included exhibitions organized by the Wilhelm Lehmbruck Museum in Duisburg in 1979, Palazzo di Brera in Milan in 1997, Castel Pergine in Trento in 2000, and the Somaini, Sculture, dipinti e disegni 1950-2001, exhibition held in Como in 2002. On November 19, 2005, Francesco Somaini passed away in Como. In 2007, the Galleria Nazionale d’Arte Moderna e Contemporanea in Rome hosted Somaini’s first retrospective exhibition after his death.
Artist/ Author: Oliver Boberg
Title : Memorial
Publisher: Oliver Boberg
Measurements: Frame measures 51 x 42 cm. original C print is 35 x 25 cm.
Condition: mint
signed by Oliver Boberg in pen and numbered 14/20 from an edition of 20
