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André François, an accomplished sculptor, printmaker, painter, cartoonist, and illustrator, entered the world as Andre Farkas in Temesvar, Austria-Hungary (now Timisoara, Romania) on 9 November 1915. After honing his skills at the Budapest School of Fine Arts, he ventured to Paris in 1934, where he immersed himself in the teachings of renowned poster artist Adolphe Cassandre for two years. Encouraged by his mentor, he created his inaugural posters for the esteemed French department store Galeries Lafayette, and was subsequently commissioned to produce works for the 1937 Exposition Internationale des Arts et Techniques dans la Vie Moderne in Paris. In 1939, he became a naturalized citizen and adopted the surname François, prompted by concerns for the safety of his Jewish family.

Following the fall of France in 1940, François relocated his loved ones first to Marseilles, and then Savoie. After the country’s liberation, they ventured back to Paris, ultimately settling in a rustic farmhouse in Grisy-les-Plâtres, where he erected his studio amidst the tranquil garden. It was there that he created mixed-media sculptures and paintings, deriving inspiration from the beauty and wonder of nature and animals.

François’ notable printmaking career encompassed both fine art and commercial endeavors. Beginning in the 1930s, he crafted lithographic posters for film and theater, and in the 1960s and ’70s, he delved into printmaking as a form of high art. His focus shifted to abstract color etching and lithography, and he became renowned for his audacious, raw abstractions of individuals and animals, occasionally incorporating humor and at times bordering on Surrealism.

Not only did François excel in this field, but he also found success as a cartoonist and illustrator. Le Nouvel Observateur, a leftist magazine, featured his political cartoons, propelling him to greater prominence in major publications throughout Europe, the United Kingdom, and the United States. In fact, he produced nearly fifty covers for the New Yorker, in addition to others for Punch, Sports Illustrated, Life, Vogue, Esquire, Le Mode, and Fortune. Moreover, he provided illustrations for a wide range of book covers, and even authored children’s books of his own. He was duly recognized as a member of the Alliance Graphique Internationale.

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

Mataré attended the gymnasium in Aachen, receiving private lessons from sculptor Karl Krauß (1859–1906) during this time and studying painting at the Academy of Fine Arts in Berlin from 1907. He initially studied under Professor Julius Ehrentraut and also spent several months studying under Lovis Corinth. He was a master student of history painter Arthur Kampf. In 1916, he fulfilled his military service but was discharged after a few months due to health reasons. He became a member of the artists’ association Novembergruppe in 1918. Only after completing his studies did he begin sculpting. The majority of his work consists of animal sculptures.

In 1922, he married 31-year-old Hanna Hasenbäumer. They had a daughter, Sonja Beatrice, in 1926. When he was 37 years old, he suffered from severe depression. In 1932, he became a professor at the Academy of Fine Arts in Düsseldorf and moved to Büderich (Meerbusch). After the National Socialists came to power in 1932, he was dismissed. He was able to earn a living by taking on commissions from religious institutions.

After World War II, Mataré was reappointed to the Academy of Fine Arts in Düsseldorf. He declined the position of rector because many teachers who had also taught during the Nazi regime were still working there, and there was little interest in his reform plans, which aimed to allow 14-year-olds to begin studying. Some of the famous students from Mataré’s class of sculptors include Joseph Beuys, Erwin Heerich, and Georg Meistermann.

Even after the war, Mataré received many commissions from religious institutions. For example, he designed four doors for the southern portal of the Cologne Cathedral. Ewald Mataré participated in the first and second Documenta in Kassel in 1955 and 1959.

Mataré passed away in 1965 from a pulmonary embolism.

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

Matthias Weischer’s artwork portrays indoor settings and landscapes that invite contemplation on the concept of space. He conscientiously constructs thick layers of pigments on the canvas, resulting in a surface that exudes a vibrant texture. By utilizing this technique, Weischer skillfully integrates detailed areas and negative space, creating a captivating juxtaposition. Since gaining prominence as a distinguished member of the Neue Leipziger Schule in the early 2000s, he has continuously experimented with varying techniques, boldly pushing traditional genres into uncharted territories. His beginnings as an artist who vividly captured spaces overflowing with personal memories are evident in his current work, which still reflects a penchant for theatricality. After a stint in Rome in 2007, the artist shifted his focus to landscapes and adopted a more painterly approach that prioritizes showcasing form through the materiality of the surface. Presently, Weischer has returned to his roots as an artist, once again exploring interior spaces with a renewed interest in human figures and their connections to domestic environments.

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

Carlos Revilla was brought into this world in the beautiful town of Clermont-Ferrand, France. As the offspring of a diplomat, his formative years were spent traversing continents, absorbing the diverse cultures of Europe, Latin America, and the United States. Revilla’s academic pursuits led him to the prestigious Royal Academy of Fine Arts in Amsterdam, where he dedicated his studies from 1956 to 1961. During this time, he forged a close bond with none other than the illustrious Salvador Dali, while residing in Cadaqués, Spain. Here, he also had the opportunity to meet and collaborate with visionary artists such as Man Ray and Marcel Duchamp. It was no surprise when Revilla was extended invitations to exhibit his work at the prestigious Venice Biennale, not just once but three times.

www.ftn-books.com has one Revilla title now available.

In 2024, Piet Franzen, a captivating artist from Leiden, exhibited his mail art piece titled “The Activist” at the window gallery “De Prachtvink” near the Vinkhuizen shopping center, located at Platinalaan 505a, 9743 GZ Groningen. It must have been one of his final exhibitions since he died shortly after.

“The Activist” is a mail art creation measuring 12.4 x 16.7 cm, completed in 2023. With this small yet powerful work, Piet Franzen conveys his concerns about two major global issues plaguing our world: the war in Ukraine and climate change. Using a simplistic pen drawing of t-shirts on a clothesline, he playfully captures the essence of these issues. The shirts seem to narrate their involvement in various protest marches and demonstrations, thus requiring a fresh wash. Yet, despite the gravity of global problems, the activist must also remember their personal hygiene and continue with their daily routine of household chores, meals, and sleep.

“The Activist” is part of a long-running mail art series. Franzen’s artwork is characterized by the use of grey cardboard cards, all in the same format, to which he adds simple drawings and stamps. His mail art often speaks of sociopolitical consciousness and engagement.

Piet Franzen (1940, Amsterdam) pursued his art education in Haarlem and later settled in Leiden, where he managed his own gallery, SIDAC. Since the 1960s, he has been captivated by the art of FLUXUS, and has delved into painting, drawing, collages, and mail art. His projects heavily involve public participation and activist ideas. His larger art pieces have been frequently showcased in the Randstad area, while his mail art has made its way into collections around the world.

www.ftn-books.com is lucky to have one of the mail art publications by Franzen and it is now for sale.

Mika Hayashi Ebbesen, also known as Mikatsiu, is a nonconforming Japanese-Norwegian creator, embodying the persona of a frequency witch and operating within the realm of autonomous art publishing. Prior experience as a facilitator of exhibitions ignited a profound curiosity in global history and decolonial tactics; this, in turn, has significantly influenced their approach to editing and scrutinizing the interconnectedness of language. They presently co-organize From Breath To Matter, a performance series based in Berlin that delves into the potential of voice as a medium in the realm of sound and movement; furthermore, they dedicate themselves to exploring the ways in which the fusion of sound and the human form generates novel societal vernaculars—they also sporadically showcase their talent as a cellist.

www.ftn-books.com has currently the DE APPEL / The Remote Archivist available.

Hervé Di Rosa, born in Sète, France, was born in 1959 and is an esteemed contemporary artist known for his vibrant and visually striking works, heavily influenced by his travels and the diverse cultures he has encountered. Splitting his time between Paris and Mexico City, he continuously seeks out novel creative avenues around the world. Di Rosa initially honed his skills at the prestigious National School of Decorative Arts before taking the Parisian art scene by storm with his first solo exhibit “Finishing Beautifully” in 1981. It was also in this same year when he co-founded the revolutionary French art movement “Figuration libre” alongside fellow artists Richard Di Rosa, François Boisrond, Rémi Blanchard, and Robert Combas. Characterized by its lively and expressive style, the movement drew inspiration from the realms of comics, rock culture, and graffiti, presenting a fresh and defiant approach to contemporary art. With his works receiving international acclaim, Di Rosa has had exhibitions in Amsterdam, Düsseldorf, and the Museum of Modern Art in Paris.

Di Rosa’s artistic journey mirrors his profound connection to diverse cultures, having traversed and created art in places like Cuba, South Africa, Vietnam, Haiti, and Tunisia among others. He adroitly fuses his love for pop culture and an unabashed use of color to infuse energy and dynamism into each of his pieces. Through his vibrant and graphic paintings, Di Rosa embraces mass urban culture, serving as a bridge between various artistic traditions and global influences. His most recent retrospective was held in Lisbon in 2023, captivating a new generation of art enthusiasts. Moreover, Di Rosa is currently collaborating on a project that delves into the fusion of street art and traditional craftsmanship. The venture has garnered considerable recognition in the global art scene and is set to be showcased at various international institutions later this year.

Honored by the Medici Foundation, Di Rosa spent an expanse of two years residing in the heart of New York City, where his masterpieces were showcased at the esteemed Barbara Gladstone Gallery. He also participated in the illustrious 1985 Paris Biennial, lending his talents to the creation of the event’s official poster. In 1989, he delved into the realm of collaboration, partnering with local artisans in Tunisia to craft two serigraphs in a commercial print workshop. In the year 2000, Di Rosa’s legacy expanded with the establishment of the International Museum of Modest Arts in his hometown of Sète, a prestigious establishment dedicated to exhibiting unconventional and popular artistic practices. Throughout his illustrious career, Di Rosa’s stunning art has been on display at a vast array of global institutions, from the Sogetsu Kai Kan Foundation in Tokyo to the Bass Museum of Art in Miami Beach and the Evo Gallery in Santa Fe.

Today, Di Rosa remains a towering inspiration in the vast landscape of art, constantly traversing new cultural territories and pushing the boundaries of contemporary painting. His art continues to enthrall audiences with its vibrant utilization of color, mesmerizing graphic style, and fusion of both popular culture and traditional art forms. Revered for his contributions to the “Figuration libre” movement, Di Rosa’s unparalleled work maintains a delicate equilibrium of whimsy and astute social commentary, establishing him as one of the most influential and esteemed figures in contemporary art today.

www.ftn-books.com has several Di Rosa titles available.

Eusebio Sempere (3 April 1923 – 10 April 1985) was a Spanish craftsman, illustrator and visual engineer whose unorthodox yet profound designs established him as the most exemplary creator of the Kinetic art movement in Spain and one of its prominent luminaries. His implementation of recurring lines and mastery of hues to manipulate light’s play on the surface furnish depth to his picturesque compositions.

Born in Onil, Alicante, Spain, Sempere embarked on his academic journey at the School of Fine Arts of San Carlos de Valencia, where he delved into painting, sketching, and assorted etching techniques. Due to a childhood ailment, he was left with restricted sight in his right eye.

Sempere’s oeuvre is characterized by the conceptualization of its components, geometric iteration and linearity, all of which amalgamated into his amalgamation of Op Art and constructivism, infused with fragments of kinetic art.

His personal imprint on the advancement of kinetic art is his repertoire of intangible geometric structures that exhibit the optical illusions of vibration and motion. Illumination also features prominently in his artistic ventures. Perhaps influenced by sources from Levantine origins, Sempere employs it as the principal unit to bring order to his creations seamlessly. His canvases are perceived as two-dimensional plains, where the artisan expertly manipulates visual elements—the light, the hues, and the shades—to achieve the perceptual and optical phenomena, transmuting them into suggestive iterations of geometric forms.

www.ftn-books.com has the Denise Rene catalog now available. http://www.ftn-books.com

Daniel Pflumm functions as a pivotal figure in the vivacious cultural milieu and subterranean club scene of Berlin during the dynamic 1990s. Pflumm played an integral part in the progression of embodying and engrossing oneself in the aftermath of capitalism’s conquest of the former East; a crucial discourse between the production of electronic music, artistry, and the aesthetic of corporations. Employing a strategized approach of situationist détournement, Pflumm cultivated a form of Pop Art, utilizing digital techniques to highlight the minimalist and abstract influence of corporate and mass media visuals.

In Berlin, Pflumm established the renowned clubs Elektro (1992-1994) and Panasonic (1995-1997), alongside a techno label, Elektro Music Department (EMD). It is within the unique environment of these clubs that Pflumm initially conceptualized and incorporated light boxes that dissected corporate logos devoid of their identifying names, paired with TV screens playing absurd video-loops of corporate logos and advertisements synchronizing to the club’s music.

www.ftn-books.com has one Pflumm title now available.

Born in Tokyo, Japan, in 1916,
Departing from this world in Tokyo, Japan, in 1985,

YU-ICHI (1916-1985) stands as a towering figure among Japanese artists of the 20th century, often mentioned in the same breath as renowned names such as Franz Kline, Robert Motherwell, Pierre Alechinsky, and Henri Michaux. Notably, Herbert Read, a prominent critic, dedicates a section to YU-ICHI in his seminal work “A Concise History of Modern Painting,” including a notable painting by the artist. Even Robert Motherwell pays him tribute in his notes, hailing him as one of the few great artists of the latter half of the 20th century.

While YU-ICHI’s participation in documenta II at Kassel in 1959, and exhibitions at venues such as the Stedelijk Museum in Amsterdam, and the Kunsthalle in Baden-Baden in 1963, and the Galerie Zwirner in Cologne in 1965 certainly elevated his popularity, he shunned regular exhibitions, choosing instead to channel his energy into the artistic and creative process. His self-critical approach to his work, and his tendency to destroy anything he deemed “inferior,” resulted in his entire collection being showcased in a three-volume catalogue.

YU-ICHI exudes his artistic energy through logographic “kanji” characters, using them as a medium to convey his artistic message and express his internal state. His focus lies not on the aesthetics of the characters, but rather on the uninhibited manifestation of his inner power through his writing. He breaks away from traditional calligraphy, opting for a radical, expressive style. His talent gained international recognition early on, evident from his participation in prestigious exhibitions: Kassel; National Museum of Modern Art, Tôkyô and Kyôto; Museum of Modern Art, New York; and Stedelijk Museum, Amsterdam.

www.ftn-books.com has one f the most important titles from his career now available.