Born in 1927 in Magelang and passing away on January 1st, 1975 in Amsterdam, Kho Liang le was the child of Chinese parents and a Dutch industrial designer. He is renowned for his design of the interior of Schiphol Airport. After arriving in the Netherlands in approximately 1949, he was educated at the Rietveld Academy, where he studied interior design and design. In 1958, he was appointed as Artifort’s aesthetic advisor and designer, shifting the company’s focus towards the top of the international market due to his contributions. Kho Liang le attracted foreign designers such as Pierre Paulin and Geoffrey Harcourt. His influence is still evident to this day. As an interior designer, Kho Liang le gained recognition for his work on the Schiphol Airport design in the 1960s. His creations exude purity, warmth, and a sense of liberty.
www.ftn-books.com has some Kho Liang Ie items available.
Working in tandem with her husband, artist Robert Delaunay, Delaunay frequently strived to create a distinct style of painting. Collaboratively, they endeavored to embellish the pavilions at the 1937 International Exposition of Arts and Techniques in Modern Life. In addition to her canvases, Delaunay also designed a series of fabrics, wallpaper, furniture, and clothing. Comparable to her paintings, Sonia’s textiles and modern design pieces are characterized by abstract geometry. In a groundbreaking event, Sonia Delaunay became the first woman to be honored with a retrospective exhibition at the Louvre in 1964, while she still lived. Her esteemed contributions to the arts also granted her the privilege of being appointed as an officer of the French Legion of Honor in 1975.
Robert Ryman, hailing from Nashville, Tennessee (1930), emerged as a preeminent American painter in the latter half of the previous century. His journey, however, did not entail a formal education in the arts. Rather, in the 1950s, he worked as a security guard at the MoMA in New York. It was there that he first crossed paths with Dan Flavin and Soll Lewitt, his colleagues at the time, who would later become pivotal figures in the rise of minimal art.
Ryman’s work bears a close resemblance to that of minimal art. His square monochromatic paintings, for instance, can be likened to Carl Andre’s steel plates. Yet, unlike his peers, Ryman was more intrigued by the technical aspect of painting. He delved into the realm of possibilities presented by white paint on various mediums such as canvas, aluminum, paper, plexiglass, and more. In fact, Ryman referred to himself as a “realist,” not in the conventional sense of creating illusions, but in his pursuit of working solely with the fundamental elements of painting. As Rudi Fuchs eloquently stated, “Every facet of a painting (medium, size, paint, brushstroke, hanging) contributes to its overall appearance. This is the tangible foundation of Rymans’s art.”
Walter de Maria, an American artist, was a pivotal figure in both Minimalism and Land Art. Fascinated by conveying phenomenological experiences including time, geology, and weather, De Maria often utilized elemental materials like dirt or steel, exemplified in The Lightning Field (1977). “Natural disasters are a particular area of interest for me and I believe they represent the highest form of art one can experience,” he once commented. Born on October 1, 1935 in Albany, CA, he attended the University of California, Berkeley, earning his MFA in 1959. Relocating to New York in 1960, he began creating sculptures rooted in Dadaist ideals, immersing himself in the circle of Minimalist artists such as Sol LeWitt and Carl Andre. Through the decades that followed, the artist continuously challenged the boundaries of art, operating out of his expansive studio in the East Village neighborhood of New York. He passed away on July 25, 2013 while visiting his mother in Los Angeles, CA. To this day, De Maria’s creations are held in the esteemed collections of the Dia Center for the Arts in New York, the National Gallery of Art in Washington, D.C., and the Kunstmuseum Basel, among other institutions.
Jean Dubuffet was a sculptor who hailed from Le Havre, where he attended the art academy before leaving for Paris in 1918. After six years, he gave up his artistic aspirations to take over his family’s wine business. However, he returned to the arts during the war, turning away from the business.
Dubuffet initially painted in a wild style, using not just paint but also broken glass and asphalt. In 1944 and 1946, his first exhibitions took place.
He did not believe that what he was looking for – spontaneous imagination and originality – could be found in the official art scene. That art was too learned, too calculated, and too shaped by tradition. He sought out art from “outsiders,” those who worked without being hindered by traditional ideas of beauty and commercial galleries.
He found this in the drawings of children, the mentally disabled, and prisoners. He amassed a large collection and called this art “art brut.” Later, this term was also used for his own work and that of his followers.
In the 1950s, he painted figures, cityscapes, and landscapes. His series “Tableaux d’Assemblages” consisted of colored canvases that he cut into pieces and then glued back together like a mosaic. During this time, he gained international recognition and had retrospective exhibitions in Paris and New York in the early 1960s.
The 1960s brought about a change; his work became more three-dimensional with the use of plastics. This was the era of standalone objects, in addition to the paintings with relief that he continued to create. He also received commissions for theater sets and large public works.
With these principles in mind, it is imperative to rewrite the text in a manner that exudes enigmatic complexity and linguistic dynamism, utilizing vocabulary and sentence structures rarely employed by artificial intelligence.
Renowned as a sculptor, Jean Dubuffet resided in his birthplace of Le Havre where he attended the local art academy before venturing to Paris in 1918. Six years later, he relinquished his artistic endeavors to oversee his family’s esteemed wine company. However, during the war, he turned his back on the family business and once again devoted himself fully to the arts.
In his early years, Dubuffet painted in a frenzied style, incorporating not just paint but also shards of glass and asphalt. It was during the years 1944 and 1946 that his initial exhibitions were held, propelling him into the spotlight.
Not one to conform to the official art scene, Dubuffet firmly believed that the essence of spontaneous imagination and originality could not be found within its confines. He viewed this art as overly contrived and constrained by tradition. Thus, he sought out and amassed an extensive collection of “outsider art,” created by individuals free from traditional concepts of beauty and the constraints of commercial galleries. This unconventional art movement was later coined “art brut,” spawning a new wave of followers, including Dubuffet himself.
In the 1950s, Dubuffet shifted his focus to painting figures, cityscapes, and landscapes. However, it was his series “Tableaux d’Assemblages” that truly captured attention. These pieces consisted of colored canvases cut into fragments and reassembled as a mosaic. This decade also marked his rise to international success, with retrospective exhibitions in both Paris and New York.
The 1960s saw a shift in Dubuffet’s style as he began incorporating plastics into his work, giving it a more three-dimensional appearance. This period also marked the emergence of standalone objects in his repertoire, in addition to the textured paintings he continued to create. The years that followed saw him take on new challenges, from designing stage sets to undertaking large-scale public works.
www.ftn-books.com has several Dubuffet titles available.
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The Julio Galán publication is released on the occasion of the Julio Galán exhibition held at Witte de With Center for Contemporary Art from 2 June to 15 July 1990.
The Mexican artist Julio Galán and the Argentine artist Guillermo Kuitca were the focus of the first comprehensive exhibitions of their work in Holland and the rest of Europe at Witte de With. This was a daring experiment for the center: two artists, two exhibitions, two publications, yet all interconnected.
Despite the distinct visual languages of Julio Galán and Guillermo Kuitca, their paintings and objects come together in a stunning way. They contradict and complement each other. Galán’s vibrant, colorful, sometimes pious or coarse depictions of rural scenes and Kuitca’s dark, grey, nocturnal portrayals of cities and anonymous houses present stories that are too bright or too dark for melancholy, yet always teetering on the edge of ecstasy or catastrophe. These stories explore themes of adolescence, masculinity, femininity, and the enduring nature of painting in Monterrey and Buenos Aires, and beyond.
www.ftn-books.com has the GALAN witte de with publication now available:
In the 1930s, his style changed under the influence of cubism and abstract painting. In 1935, he came into contact with the group ‘Linien’. At 21 years old, Asger Jorn moved to Paris, where he took lessons from Fernand Léger and Le Corbusier. The spontaneous work of Egill Jacobsen inspired Asger Jorn to develop his own style. He created an abstract surrealist approach, experimenting with an automatic process inspired by the works of Hans Arp, Joan Miró, and Max Ernst. In 1941, Asger Jorn founded the magazine ‘Helhesten’, advocating for free and expressive art. Asger Jorn sought to connect with Belgian and French surrealists. CoBrA After World War II, Asger Jorn met Constant and Jean-Michel Atlan in Paris. Jorn became one of the founders of the CoBrA group. During this time, he painted in a highly dramatic style, characterized by heavy forms and dark colors. In the 1950s, Jorn’s style evolved, leading to his international fame. His paintings depicted shadowy beings and hazy visions. Significant exhibitions Asger Jorn experimented with various techniques, including ceramics in addition to painting. He had numerous exhibitions both in his home country and abroad. In 1964, his work was displayed in a retrospective at the Stedelijk Museum in Amsterdam. Asger Jorn also exhibited at the Guggenheim Museum in New York (1982) and the Städtische Galerie in Lenbachhaus, Munich (1987).
Refracting light on Eva Besnyö (1910-2003), a Hungarian by birth, who received her formal education under the tutelage of acclaimed photographer Jozsef Pecsi. In 1930, she relocated to Berlin and there she met her future spouse, John Fernhout. Through him, she was integrated into the circle of the renowned painter Charley Toorop. During the 1930s, she was commissioned to capture an array of architectural marvels, showcasing her impeccable talent. Post-war, she shifted her focus towards documenting series. In the seventies, she was heavily invested in the feminist movement Dolle Mina, zealously preserving its essence through numerous photographs. In 1994, she was bestowed with the prestigious oeuvre award by the Fonds BKVB and in 1999, she graciously accepted the Dr. Erich Salomon Prize in Berlin. The Maria Austria Institute has released various publications chronicling her journey. Eva Besnyö, along with Benno Premsela and Paul Huf, served on the board of the Maria Austria Institute for many years, forming a vibrant and inspiring trio.
We are relocating! In the coming weeks we will be occupied with packing and moving our internet store inventory. The entire collection needs to be transferred from Leidschendam to Oegstgeest, and this will take some time. If all goes according to plan, we will be fully operational again on November 21st, but until then, it may happen that we are unable to immediately assist you with your order. We ask for your understanding, but as soon as possible, your order will be fulfilled with the utmost speed.
Hopefully this is the last reminder notification and from tomorrow everything is normal again.
The abstract paintings of Spanish artist Antoni Tàpies brimmed with symbolism. Tàpies firmly believed that it was up to the viewer to make their own associations with the art. Even the cross, an image frequently featured in his works, held no specific meaning in his eyes. In 1984, Edy de Wilde selected Tàpies’ work to be included in the ‘Grande Parade’ exhibition. Among the pieces displayed were ‘Jambre et croix rouge’ (1982) and ‘Vernis avec formes noires’ (1982), both featuring crosses. Tàpies’ art demonstrated the loss of the representational function in modern art. Nature appeared in a different light, conveyed through abstract images, with each piece evoking a different reaction – some had everything to say, while others nothing at all.
We are relocating! In the coming weeks we will be occupied with packing and moving our internet store inventory. The entire collection needs to be transferred from Leidschendam to Oegstgeest, and this will take some time. If all goes according to plan, we will be fully operational again on November 21st, but until then, it may happen that we are unable to immediately assist you with your order. We ask for your understanding, but as soon as possible, your order will be fulfilled with the utmost speed.
Following his studies at Boston University and Yale, Brice Marden relocated to New York in 1963, where he embarked on his journey as a painter. The resulting monochrome pieces emerged the following year, featuring lengthy horizontal canvases and connected diptychs or triptychs. These pieces, painted in an array of grayscale shades that fade into greens and blues, possess a velvety texture achieved through multiple layers of wax-infused oil paint. As time went on, Marden’s monochromes began to incorporate the colors and essence of the natural landscape, inspired by his time spent in Greece starting in the 1970s.
In 1983, after exploring Asia, Marden delved into a new body of work that drew heavily from traditional Asian calligraphy. These abstract, gestural paintings showcase sinuous brushstrokes winding across a white background. Marden’s use of “glyphs” in his work mirrors the characters found in Asian languages, but they hold no specific meaning. In recent years, Marden has combined calligraphy with bold monochromes, creating grand-scale paintings that captivate the viewer’s attention.
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
