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Gustavo de Maeztu was a unique and enigmatic artist, known for his dispersion and individuality. He was both lyrical and romantic, yet controversial, characterized by his passionate and sensitive creations. It was difficult to categorize his work into a single movement, as he actively avoided conforming to classifications and constantly strayed from his own identity. His life was a constant push forward, but also a series of backward moves, leading him to the brink of impressions and precise moments. This made him a captivating and unparalleled figure, impossible to classify due to his quest to find personal explanations that were disconnected from reality.

During the height of his creative period, from 1910 to 1925, De Maeztu crafted a large body of work that revolved around merging personal aspirations, interior aesthetic formulation, and his identification with Spain’s intellectual reflection. This resulted in an ambivalent artistic output that was both intimate and social, lyrical and epic, restrained and overwhelming, and at times, both melancholy and hopeful. This magical duality was simultaneously his downfall and his eternal legacy.

Two recurring themes characterized his work during this period: man and woman. His depictions of men were often melancholy, deep in thought and occupied with matters that were beyond human understanding. This hermeticism and subsequent sense of alienation only added to their mystery. On the other hand, his female figures were powerful, voluptuous, and sensual, with an air of elegant sophistication that seamlessly integrated elements of folk boisterousness with aristocratic grace. His female figures were often adorned with a magnificent display of vibrant colors, reminiscent of the shimmering tones of ceramic.

With a strong literary essence in his paintings, Gustavo de Maeztu skillfully used the diptych and triptych techniques in his compositions to tell a story. This can be seen in his paintings, such as The Samaritan Women (Museo Gustavo de Maeztu, Estella-Lizarra) and The Women of the Sea. Through these techniques, he was able to bring life to his paintings and further enhance the enigmatic complexity and linguistic dynamism of his work, making him a true master of his craft.

The artist creates from the dualistic language of imagery, using it as a dreaming vessel that contains deeper symbolism. “The Samaritan Women” portrays women from a despondent region of Castilla, heavily burdened but determined, showing no signs of weariness as they confront their destiny. In contrast, “The Women of the Sea” reveals a stark and ominous landscape, with women who do not wear a smile and have no prospects for the future. Their only desire is for the safe return of their loved ones, and the endless wait is reflected in their somber countenances. These women are monumental in their depiction, exerting a greater force than the very architecture of the houses that make up the serene backdrop, particularly against the languid waters that mirror their forms. The bridge and the faces are etched with anguish, with eyes that search, inquire, and scan the distance in an attempt to understand, yet only being met with endless waiting. The artist’s treatment of the figures resembles that of a sculptor, emphasizing the notion that they are massive paintings come to life. His close friend and art critic, Juan de la Encina, who was captivated by this piece, marveled at the “iridescent skirt, with a dominant shade of violet, on the reclining woman or the one resting on her lap (though we suspect it is more of a lap), adorned in a crimson gown that seems to ignite the entire painting.”

www.ftn-books.com has one title on Maeztu now available

Since 1965, Paul Steenhauer has created a body of work that illustrates a coherent idea of his conception of the art of painting. His aim is to depict the world as a perfect yet elusive cosmos on a very limited scale.

It is a composition that evokes associations with classical landscape images because there is always a division in the construction of the painting: a horizon suggesting a land and a sky.

The landscape is merely a preconceived notion of what we consider to be such. There is no life below or above the horizon. There are well-defined spaces of color, sometimes displaying geometric shapes. The position of the horizon, whether it be high, low, central, or curved, defines the effect of these zones and invokes unfathomable spaces, regardless of the size of the painting.

As we gaze at the paintings, we are drawn into a cosmic world beyond the conception of a landscape. The geometric shapes themselves create a rhythm within the spaces and discreetly blend “nature” and human interference, realizing a symbiosis of the two.

The overall image is further enhanced by the modulations of light, range of color, changes in form, and layered painting technique. This lends the work an atmosphere of supernatural mystery and poetry.

The meticulous execution, unique use of color, and surprising combination of landscape painting and constructivist elements imbue the work with its specific and distinctive character.

The work may not be easily accessible, but those who are truly absorbed cannot let it go.

www.ftn-books.com has one Steenhauer publication available

In the course of his existence, Oldenburg has harbored a fervent affinity for amassing diminutive objects. Over time, he developed the practice of arranging and grouping them, as if each item were a precious artifact in a grand museum. At the 1972 exhibition Documenta 5 in Germany, he unveiled the Mouse Museum, a structure brimming with shelves for visitors to peruse and admire the meticulously curated array of unassuming, American curios. Alongside the found objects, there are also small, handcrafted pieces that Oldenburg deemed worthy of inclusion in the Mouse Museum.

CLAES OLDENBURG: These objects were caught somewhere between chance encounters and works of art. Several of them served as catalysts for subsequent creations.

The layout of the museum mimics a colossal mouse head, inviting guests to enter through its snout. The mouse is an iconic motif in Oldenburg’s repertoire. From the 1960s onward, his “geometric mouse” manifests itself throughout his oeuvre in varying sizes, each with the same angular form. It serves as a counterbalance to Mickey Mouse, which embodies warmth and roundness. In contrast, the “Geometric Mouse” lacks any curves, sporting somnolent eyes with teardrops attached. It functions as a symbol of intellectual engagement, unlike Mickey Mouse, which is associated with mirth and entertainment.

Beside the book on Mouse Museum, www.ftn-books.com has now the Kassel/ Mouse Museum poster available.

For 70 years, through 600 sculptures and 3000 graphic works, Ipoustéguy crafted a figurative oeuvre that is both masterful and accessible to the masses. These works can be seen in the greatest public collections, from Berlin to Melbourne, Tokyo to London, and everywhere in between. A prolific artist whose creations illuminate the depths of humanity – its springs, shadows, and lights – and its voids.

“My work is sufficient in itself; it expresses my reality. As for the rest…”

Recognized by the greatest minds, yet fiercely independent, recipient of prestigious commissions but avoiding the frivolity of courtly games and power struggles, Ipoustéguy, so universal, still has not received the public recognition and tribute demanded by fellow artists, intellectuals, and even the crowd of strangers moved by his powerful art.

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

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.