Piet Dirkx cigarbox 072
Piet Dirkx cigarbox 072
It was only 10 years ago that i first heard about Walter Leblanc. There was a small exhibition in a local gallery and at that time the owners predicted me that there would be a great interest in the works by Leblanc…… and they were right!….Leblanc was one of the artists related to the ZERO mouvement, but with a very personal approach to ZERO/NUL. His works were much more poetic and simplistic….a bit more like the early works by the Minimalists. But these works were completely different than most zero/nul works. These were “crafted” paintings with meticulously executed patterns made with “Twisted strings” or torsions, resulting in a composition which in many cases is closely related to Minimal Art. But Minimal art “avant la Lettre” because these works were made some 5 years before the first Minimal Art was made by Sol LeWitt, Carl Andre and Donald Judd. Walter Leblanc sadly died in a car crash in 1986 , but his works remain. The works are now brought together in a foundation and every once in a while an exhibition is organized. The last one being a Retrospective in Brussels in which sculptures, Torsions and Twisted string were all presented in a fantastic Retrospective on Leblanc.
If a new exhibition is programmed on this artist i will keep you informed through my blog but for now i can recommend some nice publications on www.ftn-books.com
Piet Dirkx cigarbox 071
Last Tuesday we visited once again the studio of Eja Siepman van den Berg. In the gallery we visited an excellent and beautiful exhibition by Aubertin, Schad and the sculptures of Eja and to complete it …..a fantastic surprise lunch. We were joined by Roland Janssen and discussed the possibilities of presenting some of the statues on our site which will soon be live. Yes ,within a few weeks www.ftn-art.com will be “live”. Including a selection of the sculptures by Eja Siepman van den Berg. To get some impression of the sculptures that will be presented and which are for sale we made a pre selection of 3 sculptures. Any purchase of these sculptures will be accompanied by me personally and i will escort you to the studio of Eja Siepman van den Berg to meet the artist and show you the other works by Eja Siepman van den Berg. For all inquiries please contact me at : firstname.lastname@example.org or fill in the form below.
Artist: Eja Siepman van den Berg
title: Kinderkopje ( Lucas)
year : 2003
material : marble ( white)
size : approx. 11 x 12 x 16 cm.
artist: Eja Siepman van den Berg
title : Standing Girl
year : 1998
material : bronze
size : approx. 114 cm x 25 x 30 cm.
price : p.o.a.
artist : Eja Siepman van den Berg
title : Man
material : bronze
size : approx. 138 x 30 x 30 cm.
price : p.o.a.
for more information please fill in the form below
A youtube item on Eja Siepman van den Berg is to be found on this location : https://youtu.be/w_ZIGea1AVU
Willem Mengelberg, conductor of the Amsterdam Concertgebouw Orchestra, was grasped by Mahler’s music when he attended the first performance of his Third Symphony in Krefeld (G) in 1902. Right from that moment, he vigorously took on promoting Mahler’s music, claiming Mahler to be “the Beethoven of his time”. In his persistent efforts to introduce Mahler’s music, Mengelberg gradually acquired an outstanding position both in The Netherlands and in Europe, in this respect leaving behind other contemporary conductors.
Time and again, Mengelberg tried to persuade Mahler to conduct his own works in Amsterdam. This materialized in 1903, 1904, 1906 and 1909. During these visits, the composer was staying with the Mengelbergs at their home. However, because of his numerous engagements elsewhere, Mahler was often compelled to decline Mengelberg’s invitations for conducting.
Mengelberg’s commitment to promote Mahler’s music should not be underestimated. At the time, a substantial part of the public would leave the concert hall to demonstrate their disapproval of Mahler’s music, which was, on top of that, often ridiculed by the critics. Mengelberg was convinced of Mahler’s genius, which inspired him to persist in his dogged endeavours, taking for granted that this implied rowing against the stream . Only after years of sustained perseverance, a ‘Mahler community’ came into existence in The Netherlands, which formed the basis of the unprecedented success of the ‘Mahler Feest’ in 1920, drawing worldwide attention. In the 1920’s, Mengelberg, who had by then also become conductor of the New York Phiharmonic, repeated his efforts to promote Mahler’s music to the American public.
Mengelberg was one of the most important Mahler pioneers who deserves a special place of honour in our remembrance. His tireless efforts to make Mahler’s music better known to a greater public contributed greatly to the international Mahler culture of this era.
The Willem Mengelberg’s archives in the Netherlands Music Institute contain, amongst other things, his conducting scores, which are characterized by his colourful annotations that clearly indicate his conductors interpretation of the work concerned. In addition, many of these scores also contain instructions and remarks of Mahler himself: tangible and visible evidence of the close ties between Mengelberg and Mahler.
the above text is from willemmengelberg.nl
Why this blog on Mengelberg? It was about 20 years ago that well before the “craze” of huge and impressive publications ( Newton, Araki) that this tremendous large publication was published on the occasion of the Mengelberg Festival 1995. It is indeed a huge publication. Weight being well over 5 kg and published in a cardbox blue linnen covered container with a text plublication and in a different volume the musical score by Mengelberg with his annotations . This is the perfect facsimile.
Best of all: designed by one of my heroes ….Wim Crouwel. This is such a publication that will be in demand for a very long time and very hard to find. Now i have two copies available from a remainder stock and both in “new” condition at www.ftn-books.com
Piet Dirkx cigarbox 070
Seurat can be seen as one of the founders of the style which is now know as Pointillism. Painting small dots in a specific color and order, thus making a composition which is fresh, clear, has vivid colors , because the dots look to melt which each other and in this way producing a vivid , shiny color. The composition itself was in many cases linear with imaginary lines all moving in one direction. For instance the lines of Le Chahut all go up. ( see the moustaches).
There are not many paintings executed in the pointillistic style by Seurat. Seurat only became 31 years of age and in this time he made 50 known paintings in the pointillist style. We are fortunate to have one in the Netherlands and it is not the least important one, because mrs Kroller Muller chose this herself to be part of her impressive collection. So do not visit the Museum Kroller Mulelr for the van Gogh’s , but instead look at the other paintings in the collection which are at least as impressive . The Seurat being one of them.
Tip. When you visit the Kroller Muller Museum. Leave your car at the entrance and hop on a bike to cycle to the museum and the Jachtslot by Berlage one of the most beautiful National Parks the Netherlands has and a great way to spend a day.
for some nice titles on Seurat: www.ftn-books.com
Piet Dirkx cigarbox 069
In the beginning i did not take the work by Panamarenko serious, however times and perspectives change. It took some years ( 20 years) but now i consider Panamarenko as one of the greatest living modern artist. Panamarenko stayed true to his inventions, flying machines, submarines and all other vehicles and objects he invented, but what makes Panamarenko for me special is the way he designs them and executes the “real thing”
His sketches and drawings show detail and from the drawing itself one gets the immediate impression that it will work if it is executed properly. The way he invents makes one think about the possibilities of many items. He not only is an inventor but a truly original artist.
A future world made by Panamarenko could well be not too far away. Panamarenko is here now, but will be present with his machines in the future too. This is an artist who does not looks behind him, but Panamarenko designs the future for us.
soon we will be wearing, flying and driving, machines with the logo’s “copyright by” or “designed by”…PANAMARENKO.
For more publications on Panamarenko visit www.ftn-books.com
Piet Dirkx cigarbox 068