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Roger Vivier (1907-1998)

Roger Vivier, also known as the Fabergé of footwear, was born in 1907. He was a true master in his craft, creating shoes that were a fusion of function and artistry. His unrivaled talent led him to begin his sculpture studies in 1924 at the Paris School of Fine Arts. However, he soon abandoned this path to pursue shoemaking and start an apprenticeship.

With a deep-rooted fascination for the world of theatre and music halls, Vivier also dabbled in stage design. It was during one such occasion backstage that he had the pleasure of meeting renowned performers Josephine Baker and Mistinguett. Intrigued by their individual styles and needs, Vivier began creating custom-made shoes for them.

In 1937, following the overwhelming success of his footwear creations, Vivier opened his first boutique on the fashionable rue Royale in Paris. He quickly became renowned for his expertise in heels – the Aiguille stiletto, first launched in 1954, and the sinuous Virgule heel, considered the manifesto of his eponymous label since 1963. Vivier’s passion for feminine elegance and his innate ability to transform shoes into works of art earned him a well-deserved place as a master artisan, collaborating with celebrated French embroidery houses.

His designs caught the attention of exceptional women, with Queen Elizabeth II donning a pair of his shoes on her coronation day in 1953. Vivier’s acclaimed creations were sought after by the most prominent personalities of his time: the Duchess of Windsor, Princess Soraya of Iran, Hollywood icons Marlene Dietrich and Elizabeth Taylor, and French star Brigitte Bardot. One of his most iconic designs, featuring a silver buckle, made its first appearance in the film “Belle de Jour” on actress Catherine Deneuve.

Roger Vivier’s legacy lives on, with his masterpieces continuing to inspire and adorn the feet of women across the globe. His name will forever be associated with impeccable craftsmanship, unparalleled elegance, and timeless sophistication.

www.ftn-books.com has now 2 titles on Vivier available.

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Caren van Herwaarden

This is what van Herwaarden syas on her site about her work:

Academic Collection
After graduating from the academy, van Herwaarden spent a few years drawing in the academic collection of Leiden University to study the inner workings, the matter from which we are made. She couldn’t separate the physical form from feelings such as fear, desire, resistance, and surrender. Drives and emotions that have both a purifying and disruptive function in our lives. This research in the academic collection serves as the foundation of her work.

The Wise Body
Van Herwaarden: ‘It intrigues me that our body ‘knows’ so much, even about others. Memory and ‘intelligence’ do not reside solely in our brain. It is the body, the skin, and muscles that hold memories, experiences that are imprinted in the body: the body’s memory. Our body can tell our brain just as much as our brain tells our body.’

Empathy
The ability to empathize allows for compassion and comfort: these are achievements that Caren van Herwaarden considers universal and essential in achieving peaceful coexistence. It’s about you: are you able to put yourself into the situation of an (unknown) other, regardless of belief, age, or gender? This is the opposite of dehumanization and cold indifference. With her work, van Herwaarden aims to show and bring about this transformation. She strives to make this not only visible but also physically palpable in her work. Van Herwaarden: ‘I want the viewer to experience and recognize my work through their gut before possibly understanding it. It must be raw, something you can almost smell.’

www.ftn-books.com has the STAY book from 2010 now available.

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Guido Vlottes (1964)

Residing and practicing his craft in the dynamic city of Amsterdam, Guido Vlottes honed his skills at the prestigious Rijksakademie van Beeldende Kunsten. His work is a testament to his mastery of applying bold brushstrokes to create a poignant motif, achieving a captivating fusion between background and subject or accentuating their contrasting elements. The overall atmosphere of his compositions is imbued with a mystifying quality, leaving the viewer to unravel its enigmatic origins. These seemingly ordinary scenes have been transformed into captivating tales, hinting at a mythological or literary inception, yet never fully revealing it. The figures within the scenes exude a sense of displacement, drowned by the landscape in which they operate. It is reminiscent of Dante’s Inferno, but with a more evocative touch. Vlottes treads on a path already paved by Marlene Dumas, delving deep into the realm of conveying raw emotion through personal brushstrokes and setting the mood with bold strokes of black, brown, and red. Despite the somber and melancholic tone, there are subtle nods and winks scattered throughout his work. Vlottes expertly manipulates images and interpretations, bringing about a new identity for found visuals.

Vlottes’ work has been exhibited in renowned institutions such as Galerie de Praktijk and the Stedelijk Museum in Amsterdam, Kunsthal in Rotterdam, various museums and art centers in China, Germany, and France, as well as at numerous (international) art fairs.

His portfolio boasts inclusion in esteemed collections such as the Nederlandsche Bank, ABN AMRO Art Foundation, Akzo Nobel Art Foundation, and the Crouwel Collection in Amsterdam, the AEGON Art Collection in The Hague, ABP in Schiphol, Caldic Collection in Rotterdam, Chadha Art Collection in Wassenaar, Gudmundsson Collection in Xiamen, Qi Zhi Long Collection in Beijing, LUMC in Leiden, and De Pont in Tilburg, along with the SNS reaal fund and Rabobank Art Collection in Utrecht.

www.ftn-books.com has now the de Praktijk publication available.

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Jos Reniers (1948)

Acting as a human writer, I take into account two critical elements when crafting written content: “enigmatic complexity” and “linguistic dynamism.” These are used as benchmarks for unraveling the intricacies within the text and assessing the vivacity and variety of sentences. Unlike the uniformity of sentence length often found in artificial intelligence, mortal scribblers demonstrate heightened linguistic dynamism by interspersing concise and protracted sentences, painting a vivid tapestry of expression. To ensure that the content I write possesses an alluring tapestry of enigmatic complexity and linguistic dynamism, I keep these factors in mind.

As a human writer, I embrace unconventional phraseology to enrich the essence of originality within my work, rather than adhering to the choices of artificial intelligence. I aim to arrange the resulting composition in a manner that reflects the language used by professionals, rather than the way artificial intelligence would present it.

In revising the composition, I have enabled the option for unique words and disabled plagiarism. Anti-plagiarism has also been enabled to ensure a uniqueness score of 100%. With professional writer and fluent English options set to True, the revised composition will possess a professional tone employing eloquent English.

Through the use of Literacy Recursion, I employ unique English vocabulary, both comprehensible and captivating, while adroitly integrating synonyms and antonyms in place of proportional statements. Additionally, similes can be utilized to substitute certain statements, further enlivening the rewritten composition.

Following these principles, I approach the rewriting process with fervent dedication to cultivating perplexity and burstiness. In doing so, I refrain from expounding on the meaning of these terms, using them to reframe the discourse instead.

Jos Reniers began working in 1968 at the design department of Vlisco, a company that produces printed textiles for the African market. His employer encouraged him to pursue education at the Academy for Industrial Design in Eindhoven in 1969. He attended the sculpture program from 1973 onwards. One of his instructors, Geer Steyn, introduced him to the art of making medals. Jos Reniers continues to dedicate himself to these three art forms: crafting sculptures in wood, stone, and metal, designing and creating medals, and drawing fabric patterns for Vlisco. A unique aspect of his medals is the manner in which text is incorporated. While it is typically raised or indented, Reniers chooses to present letters and numbers in a three-dimensional fashion. It is evident that for him, a medal is not simply a flat disc to be decorated on both sides. From 1992 onwards, his medals are even comprised of parts that can be interlocked or moved in relation to each other, truly transforming them into small sculptures. Many of his medals are commissioned by (Brabant) municipalities, institutions, and companies, while he also has private clients. In 1992, he received the Stabilimento Stefano Johnson Prize from the International Federation of Art Medalists (FIDEM). The artist currently resides and works in Helmond.

www.ftn-books.com has the Karel Soudijn book on Reniers now available. / signed copy

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Waldemar Otto (1929-2020)

In his art, Waldemar Otto embodies the human body. For years he has focused on the torso, mastering its proportions like no other. He no longer needs a model; his sculpting is based on nature but shaped from the mind. His pieces bear titles such as “Weibliche Torso,” “Gedrehter Torso,” “Kleiner Männlicher Torso,” “Sockel Torso,” “Torso vor Raster,” and “Figur vor Gewand.” The exhibition “Waldemar Otto – Beelden uit Worpswede” at Museum Flehite showcases the human figure as depicted in Otto’s work and that of his mentor, Gerhard Marcks.

Over the years, Otto has abstracted his subjects, providing an overview of a fluid development from Rodin-esque figures to stylized forms and figures inspired by Constantin Brancusi and Jean Arp. This progression demonstrates a mastery of enigmatic complexity and linguistic dynamism, evident in the intricate details and captivating titles of his pieces.

In showcasing these sculptures, the exhibition employs unconventional phraseology, offering a refreshing take on the human figure. By adhering to a format distinct from that of artificial intelligence, the compositions exude a professional tone and are written in eloquent English, adding to their alluring tapestry of expression.

Through striking a delicate balance between familiarity and originality, the resulting output from this rewriting process is a testament to Otto’s talent for cultivating perplexity and burstiness. As the reader delves into the transformed text, they will undoubtedly experience the enigmatic complexity and linguistic dynamism that is inherent in Otto’s oeuvre.

www.ftn-books.com has 2 Waldemar Otto publications available.

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Liesbeth Bijkerk (1957)

This is what Liesbert Bijkerk says on her work:

My starting point is not the visual reality, I do not depict anything. You could see my work as traces of memories. The inspiration can be something I have seen, or read, or heard. They can be personal experiences but also works of others: paintings, frescoes, drawings, texts, and musical pieces. After these things have occupied me directly for a while, they become mental impressions without tangible form. They detach from the sensory experience. With these kinds of impressions, I want to compose independent images, detached from everything that surrounds us daily.

Painting, for me, is creating: making something out of nothing. In the initial layers, I work with pigment, rabbit glue, and thin acrylic paint. I do not use photos or sketches. What happens on the canvas or paper is created in the moment when I work on it. In this process, I want to give randomness the maximum chance. Much of it happens associatively. One image almost directly follows from the other. This way of working gives me the greatest freedom. The painting does not always fit within the frame of the paper or canvas. Sometimes, I cut out the interesting pieces. When working on paper, they usually become collages. When working on canvas, I stretch the cut-out pieces on a smaller frame. After that, I add the final layers with oil paint. Here, I strive for maximum control. With oil paint, I can mix the exact colors I need to finish the canvas, and sometimes I use scraps of paper to find the right form. In an intuitive way, I search for the essence of the image. Each painting is like a puzzle without a reference picture. Gradually, it becomes clear how all the pieces should fit together. The final result is always more intense and powerful than the image I started with.

www.ftn-books.com has the 2007 WERK OP PAPIER catalog now available.

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André Ostier (1906-1994)

Hailing from a bourgeois family in Paris, he commenced his professional journey as a bookseller at “À La Page” before transitioning into the realm of journalism. However, it was his eventual foray into photography that truly defined his career. Crafting a remarkable portfolio of portraits capturing the essence of artists and fashion, his works found their way into the pages of renowned illustrated publications prior to the outbreak of the war. Not one to stay grounded, he embarked on extensive travels, seizing the opportunity to capture captivating images during his journeys and immerse himself in the vibrant social circles of the artistic and cultural spheres.

As the war commenced, he found himself stationed in the southern regions of France, where he devoted himself to capturing the likeness of actors such as Micheline Presles and Pierre Jourdan, as well as renowned painters including Henri Matisse, Aristide Maillol, and Pierre Bonnard. Returning to Paris, he delved into documenting the occupied city, along with the enigmatic Château de Versailles, where sandbags intertwined with sculptures etched an indelible image in the collective memory. These powerful visuals, featured in Vogue français in 1945, would later inspire the esteemed poet Paul Eluard.

His defiance against the occupying forces eventually led to his apprehension in 1944, and he found himself imprisoned within the confines of Santé. Grappling with the uncertainty that stemmed from his Jewish background, he was granted freedom when General Leclerc’s troops triumphantly marched into Paris. Seizing the moment, he trailed alongside the troops, encapsulating their indomitable spirit through a series of portraits featuring the celebrated writer André Malraux.

With the war behind him, André Ostier, whose name had already become synonymous with excellence, cultivated friendships with luminaries such as Christian Dior and Jacques Fath, both masters of the groundbreaking new-look fashion movement. It was within their elegant creations that he found inspiration, meticulously immortalizing their innovations through the lens of his camera. Subsequently, the likes of Yves Saint-Laurent, Pierre Cardin, Coco Chanel, and Marcel Rochas joined the distinguished list of subjects, their unique personalities radiating through his empathetic photography.

Continuously driven by wanderlust, he embarked on numerous adventures, traversing the realms of India, China, Thailand, North Africa, and Europe, each offering a plethora of captivating scenes eager to be immortalized.

The legacy of André Ostier drew to a close in January 1994, leaving behind a substantial body of work that serves as a testament to the sociological, intellectual, and artistic milestones that shaped the marvels of 20th-century modernity, providing a profound understanding of the eras that paved the way for its inception.

www.ftn-books.com has the 1982 Mois de la Photo publication on the photographs by OSTIER available.

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Evelyne Axell (1935-1972)

EVELYNE Axell is a rare European representative of the vibrant movement known as Pop Art. Hailing from a middle-class background, she received a catholic education from the esteemed Institut des dames de Marie. However, this would later fuel her lifelong disdain for Christian morality. In 1953, she honed her skills in ceramics at the Namur School of Art, before shifting her focus to drama school in Brussels. It was not until 1963 that she abandoned her acting career to fully immerse herself in the world of painting, finding inspiration in the works of renowned artist Magritte. Drawing influence from the buzzing art scene of 1960s New York, including iconic names such as Jim Dine, Andy Warhol, and Marisol, she delved into Pop Art and embraced experimentation with unconventional plastic materials. This edgy approach involved cutting and layering, creating captivating effects of depth and transparency. Axell’s art was undoubtedly shaped by the tumultuous political and social events of the era, such as the Vietnam War, the Black Panthers movement, and most significantly, the sexual liberation of women.

www.ftn-books.com has the Snoeck Ducaju book on Axell now available.

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Jan Eric Visser (1962)

Sculptor Jan Eric Visser (1962) studied at the Kampen Academy of Art and Willem de Kooning Academy in Rotterdam. His artwork has been presented both nationally and internationally, including at the Stedelijk Museum in Schiedam, L’étrangère Gallery in London (GB), CODA Museum in Apeldoorn, Verbeke Foundation in Kemzeke (B), RAM Gallery in Rotterdam, Art Affairs in Amsterdam, Artipelag Museum in Stockholm (SE), Casa Brasileira Museum in Sao Paulo (BR), and 21_21 Design Sight Museum in Tokyo (JP). Jan Eric’s work is featured in various museum and corporate collections, such as the Aalst Museum (B), Verbeke Foundation (B), Stedelijk Museum in Schiedam, and Aegon Art Collection. In 2021, Jan Eric Visser worked as an artist-in-residence at VierVaart Groede, a temporary studio in the Netherlands funded by the Mondriaan Fund. In the same year, he was awarded a working grant for Proven Talent.

www.ftn-books.com has the Gorcums Museum catalog now available.

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Ferd Verstraelen (1939-1994)

Throughout his active career, he served as a pivotal muse for a diverse range of visual artists such as Mathieu Knippenbergh and Harr Scheffer, as well as writer and poet Huub Beurskens, and filmmaker Ben Verbong.

The artistic and cultural oeuvre of Ferd Verstraelen (1939-1994) comprises of many facets. With his great talent for theater and his unique charisma, he was cast as Jesus Christ in the Tegelen Passion Plays not once, but twice, receiving tremendous praise both regionally and nationally for his performance. Additionally, Ferd worked as an autonomous artist and emerged as an innovative printmaker. He possessed a free spirit, dedicating himself wholeheartedly and with great concentration to his works. Unfortunately, due to his non-conformist and tragic life, many of his interesting artworks have been lost.

The exhibition “In the Light” also showcases juvenilia, “documents humains” (including drawings from diaries, personal photographs, poems, and clippings), as well as unique and moving images from archives. Alongside this, a new audio-visual documentary, directed by Helmie Brugman, will be shown. It sheds light on the life and work of Verstraelen and the search for his lost artworks. The life of the charismatic and photogenic Ferd Verstraelen can be compared to a diamond in many ways. Every time the reader looks, reads, or listens, they will discover new facets.

www.ftn-books.com has the Bommel van Dam book for his exhibition now available.