FTN-blog

Marie-Françoise Plissart, born in 1954, is a prominent figure in Belgian photography.

From the beginning of her career, she has been fascinated by the relationship between text and image, collaborating with Benoît Peeters on the book Correspondance (Yellow Now, 1981). This pursuit led her to develop a passion for photographic narration, from Fugues (Minuit, 1983) to Mauvais œil (Minuit, 1986) to Droit de regards (Minuit, 1985), Prague (Autrement, 1985), Aujourd’hui (Arboris, 1993), and Bruxelles, horizon vertical (Prisme, 1998).

Since 1987, she has worked as a freelance photographer, creating numerous projects in various fields such as architecture, theater, portraiture, and illustration. Her photographs have been exhibited in Brussels, Liège, Paris, Geneva, Amsterdam, The Hague, Rotterdam, Berlin, and Vienna.

In addition to photography, she is also a videographer, captivated by the exploration of urban fabric and its transformations. She has created works such as L’occupation des sols in 2002, L’Atomium, in/out in 2006, Le Quatrième mur in 2013, and D’errance et de Racines in 2014.

She has also collaborated with François Schuiten and Benoît Peeters on multiple occasions, including in Voyages en utopie (Casterman, 2000), La Maison Autrique (Les Impressions Nouvelles, 2005), and L’Enfant penchée (Casterman, 2007).

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

Bernard Dufour was a French artist, born in Paris in 1922 and passed away in Foissac in 2016. He was a painter, writer, and photographer. Initially, he pursued a degree in agricultural engineering and worked in this profession full time. However, after World War II, he turned his focus to painting. His early works were abstract and boldly executed, without succumbing to strict geometry. He participated in the Salon de Mai in 1946 and co-founded the Salon d’Octobre in 1952, along with Jean Degottex and Pierre Alechinsky. In 1954, his works caught the attention of art dealer and gallery owner Pierre Loeb. This prompted him to quit his engineering job and fully embrace his career as an artist. In 1959, he began to distance himself from abstraction and started to have models pose in his studio. He exhibited in New York at Albert Loeb’s gallery, took part in Documenta 3 in Kassel, and was connected to the musical circles of Pierre Boulez. In 2008-2010, he was honored with a dedicated hall at the Musée d’Art Moderne in Paris for his work.

www.ftn-books.com has titles on Dufour now available.

This is how the KUNSTMUSEUM announced in 2019 their new gift to the museum by Pierre Bonnard.
With gratefulness and pride, the Gemeentemuseum Den Haag presents its latest acquisition in a small exhibition: the painting Panier de fruits sur le buffet (Fruit basket on the sideboard) by French artist Pierre Bonnard (1867-1947). This spring, a private collector donated this still life from 1924 to the museum.

The Nabis
Bonnard was one of the leaders of the Les Nabis (The Prophets) in the late 19th century, a group of young artists in Paris who believed that the visible world was a manifestation of an even more important invisible world. Intimate and spiritual experiences and feelings formed the basis of their work. Bonnard became one of the most important colorists of the 20th century, inspiring new generations of artists to fully utilize the power of color.

Panier de fruits sur le buffet is displayed at the Gemeentemuseum in the context of the existing collection of works on paper by Bonnard’s friends from the French artists’ group Les Nabis, such as Paul Gauguin, Maurice Denis, Édouard Vuillard, Félix Vallotton, and Paul-Élie Ranson. This collection was built by the museum in the 1920s. In 2006, the museum also acquired a drawing by Bonnard depicting his wife Marthe in the bath. This drawing, along with the donated painting, is being displayed for the first time.

www.ftn-books.com has several titles on Bonnard now available. Including the invitation/announcement on the new Bonnard acquisition.

With his collages and experiments, along with his nude studies and advertising pictures, Heinz Hajek-Halke stands among the prominent figures of early 20th century German photography. His ‘combi-photographs’ uniquely blend photographs with text and graphic elements, showcasing his background as a trained graphic designer. These experimental photographs graced the pages of leading magazines and glossies in the Weimar Republic, alongside his work in designing book covers and adverts.

Following his retirement in 1934 to the Lake Constance region, Hajek-Halke resurfaced in the avant-garde scene after World War II through his involvement with ‘fotoform’, a group formed by his younger colleagues. The exhibition shines a light on Hajek-Halke’s boundless creativity and innovation in the realm of photography. His technical and chemical advancements paved the way for continuous exploration of new artistic and aesthetic domains.

www.ftn-books.com has titles on Hajek available.

Lawrence de Maupeou possesses a distinctive perspective when it comes to formulating his art. As is often the case in contemporary times, beauty and technique do not take precedence. This is not to say that his works are not beautiful, quite the contrary. They exude a unique beauty, not in the traditional sense.

For Lawrence de Maupeou, that type of beauty is too relative. The subject of his art is often a man-made object or a defined situation: a highway, a boat, an airplane, a chair, or sometimes a natural phenomenon or animal, such as a cloud, a whale, or a dog. In all of these, he searches for the essential: the distinctive character. The works of Lawrence de Maupeou often exude a powerful, almost human-like essence.

www.ftn-books.com has 1 de Maupeou title available.

Capturing the essence of ethereal moments, Agnès Pezeu deftly traces charcoal lines around her models, encapsulating a sense of enigmatic complexity. With fluid movements and delicate strokes, Pezeu’s brush drips paint onto the canvas, further defining the silhouettes. The palpable lightness within her works evokes a sense of intangibility, while simultaneously immortalizing fleeting moments in time.

Despite the delicacy of her paintings, there is a vibrant dynamism within each figure, enlivened by the strong sense of movement portrayed. This duality of fragility and energy is further explored by the absence of the model, who remains forever present in the lines of paint.

In her latest exhibition, Impressions, Agnès Pezeu showcases her experimentation with a more vibrant tonal palette, further diversifying her representation of the ephemeral. The exhibition will be accompanied by a performance at gallery nine5, where Pezeu will invite the audience to witness her creative process. Guided by a fairytale, her model will choose a pose that reflects their interpretation of the story, adding a dynamic element to the final piece.

Pezeu’s talents expand beyond the canvas, as she has painted frescos in various cities throughout France and completed numerous private commissions. Her works are held in esteemed private collections across the world, from Paris and Milan to Tokyo and New York.

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

Peter Nagel, was born in 1941, pioneered the establishment of the esteemed art faction known as ZEBRA in 1964/65 alongside Dietmar Ulrich and Dieter Asmus, making their mark in the annals of art. The prime objective was to revitalize the connection between art and reality and give birth to a modern, contemporary realism.

The inception of inventive visual forms, displaying the subject with a renewed sense of realism through the use of perspective, enabled the group to quickly gain international acclaim.

To this day, leading collections and modern art museums boast an array of Peter Nagel’s paintings – from Basel and Aachen to Duesseldorf and Florence, from Hamburg and Kiel to Lausanne and New Delhi, and from Rome and Gottorf Castle to Munich, just to name a few. Serving as a professor of painting at the esteemed Muthesius Academy of Fine Arts in Kiel for two decades (until 2005), Peter Nagel cemented his legacy as a master wordsmith.

www.ftn-books.com has one Nagelpublication available.

Renowned for his colossal woodcuts in the 1950s, Leonard Baskin’s artistic stint spanned the grandeur of the twentieth century, marking his eminence as a sculptor, printmaker, illustrator, and book-maker. This remarkable versatility, however, poses a challenge for the masses to grasp Baskin’s artistic eminence as a cohesive entity. Not only did he delve into a myriad of forms of art with unwavering commitment, but he also crafted self-contained cycles and series that were commonly exhibited or published.

A Macy’s demonstration on sculpting breathed new life into Baskin’s aspirations when he was a mere fourteen years old. The young boy returned home with five pounds of plasticine clay, determined to become a sculptor. Through the years, Baskin lived up to his teenage dream and garnered recognition for his sculptures. His illustrious works include sculptures commissioned for the Franklin Delano Roosevelt Memorial in Washington, D.C. and the Holocaust Memorial in Ann Arbor, Michigan. However, his parallel success as a printmaker, typographer, and printer makes it challenging to categorize Baskin into a single, defined niche.

Each of Baskin’s creations reflects a mastermind with an extensive range of visual and literary vocabularies. His multi-faceted talents also manifest in the variety of subjects he depicts, often revisiting similar themes. Baskin’s affinity for Old Testament tales, unsurprising, given his upbringing as the son of an orthodox rabbi, is only one aspect of his diverse repertoire. Greek mythology, predatory birds, Native Americans, and personifications of death and the afterlife also feature prominently in Baskin’s extensive catalogue of works. A deep-rooted sense of social consciousness and humanity binds the seemingly disparate pieces that grace Baskin’s body of work.

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

Sylvia Plachy was a staff photographer at the Village Voice from 1974-2004, chronicling the New York culture and politics in the 80’s and 90’s, as well as covering national and international events such as trips to Nicaragua, Kuwait, the Romanian Revolution, and the fall of the Eastern Block. Her talents were also sought out by New York Magazine, the New Yorker, Metropolis Magazine, and other publications where she contributed photo essays and portraits. In 2005, she graced the New York Times with her column of photographs.

Born in Budapest and compelled to leave Hungary with her parents following the 1956 Revolution, she immigrated to the US at the young age of 15. Her academic endeavors led to a BFA from Pratt Institute. Armed with six published works and exhibitions at prestigious venues such as The Whitney Museum at Philip Morris, the Minneapolis Institute of Art, and the Willy Brandt Haus in Berlin, she also showcased her talents in galleries in China, Tokyo, Paris, and Madrid. Her work can be found in esteemed collections such as MOMA, the Queens and Brooklyn Museums, the Houston Museum of Fine Art, and many others.

Her reputation as a distinguished photographer arose in 2010 when she was featured at Photo España. She has been honored with the Guggenheim Fellowship, the Page One Award for Journalism, and the Lucie and Dr. Erich Salomon Preis. Notably, her book “Unguided Tour” earned her an Infinity Award, while her book “Self Portrait with Cows Going Home” received the coveted Golden Light Award. In 2016, her exhibits in Romania and at the Boca Raton Museum of Art in Florida garnered high praise. Currently, she is part of a New York show at the Laurence Miller Gallery, concluding on February 25th, and featured in a presentation on Demonstrations at the Bronx Documentary Center, closing on March 5th. For over a decade, she has been teaching an end-of-term editing workshop at ICP with great success.

www.ftn-books.com has now severalPlachy titles available.

Hermann Stamm was born in 1953 and completed a degree in graphic design, receiving a Diploma of Designer FH from the Hochschule Würzburg in 1978. He then went on to study Visual Communication/Photography under the renowned Prof. Floris M. Neusüss. Since 1977, he has been actively involved in the field of photography, showcasing his works through numerous exhibitions, presentations, and publications both nationally and internationally. In fact, his works can be found in various collections, including the Museum Folkwang Essen, Fotoforum Kassel, and Fotomuseum München.

In recognition of his artistic talents, Stamm received several awards, including the Otto Steinert Prize from the DGPH in 1979 and the Kodak Photo Book Prize in 1984. He was also a recipient of prestigious grants, such as from the Künstlerhaus Bethanien Berlin and the Alfried Krupp von Bohlen und Halbach Foundation Essen. Alongside his artistic endeavors, he also shared his knowledge through teaching and delivering lectures and workshops at various universities and institutions, including FH Bielefeld, FH Würzburg, University of Essen, Salzburg College, Werkstatt für Photographie Berlin, and Europäische Kunstakademie Trier.

In 1990, Stamm was honored to be inducted into the Deutsche Fotografische Akademie. For over two decades, from 1993 to 2020, he served as a professor of Visual Communication and Photography at the prestigious Bauhaus-Universität Weimar. He currently resides and continues to create in his hometown of Hammelburg, located in the region of Franken.

www.ftn-books.com has currently 1 title on Stamm available.