FTN-blog

Hans Hofmann (1880–1966) holds a significant position in postwar American art. He is widely praised for his lively, vibrant canvases and acclaimed as a profound mentor for generations of artists, beginning in his homeland of Germany and later in New York and Provincetown. Hofmann’s influence was vital in the development of Abstract Expressionism.

From 1900 to 1930, Hofmann explored and studied in Munich and Paris before returning to Munich. In 1933, he moved to New York and then to Provincetown, where he remained for the next forty years. Throughout this time, Hofmann’s transition from distinguished art instructor to pivotal modern artist brought him into the circle of prominent figures in twentieth century art, such as Henri Matisse, Pablo Picasso, Georges Braque, Wassily Kandinsky, Betty Parsons, Peggy Guggenheim, Sonia and Robert Delaunay, Lee Krasner, Jackson Pollock, and many others. His thriving career was guided by the postwar modern art dealer Sam Kootz, cemented by the art historian and critic Clement Greenberg, and solidified by the unwavering support of his first wife, Maria “Miz” Wolfegg (1885-1963).

Upon reaching the age of 64, Hofmann debuted his first solo exhibition at Art of This Century in New York in 1944. Despite the demands of his teaching career, he dedicated himself to painting until the closure of his school in 1956. This shift in focus allowed for a renewal of his artistic pursuits during the height of the Abstract Expressionism movement. Over the next two decades, Hofmann’s extensive body of work was heavily influenced by Matisse’s use of vibrant colors and Cubism’s unconventional approach to form. He coined his own artistic theory, known as “push and pull,” which emphasized the interconnectedness of form, color, and space.

From his initial landscapes of the 1930s, to his later “slab” paintings of the 1950s, and his abstract pieces towards the end of his life in 1966, Hofmann continuously pushed the boundaries with his experimental color combinations and formal contrasts, transcending traditional genres and styles.

www.ftn-books.com has Hoffmann titles available

Horst Heinen, born in 1927 in Berlin and deceased in 2001 in the same city, was a renowned German painter and graphic artist. He honed his skills at the Meisterschule für Grafik und Buchgewerbe, as well as the Hochschule für Bildende Künste Berlin, under the guidance of esteemed professors Ehmsen, Klatt, and Schumacher. As a freelance artist, Heinen resided and worked in Berlin, dedicating himself to his craft.

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

A self-taught creative mind, Rudolf Jahns is lauded as a leading figure in German Constructivism, distinguished by his pursuit of harmony in aesthetic and musical form. For Jahns, art served as a vehicle through which he could translate hues, illuminations, and his personal encounters with nature into a sublimated medium through constructive abstraction.

This petite watercolor piece, titled Composition (Constr.), hails from 1924, a period in which Jahns had honed his craft and carved his own distinctive path after experimenting with an array of abstract forms. The portrait-oriented work comprises a composition of small squares and rectangles of varying sizes and shades that overlap at their borders, creating a subtle sense of space. The color palette predominantly features soft and muted tones of green and blue, occasionally shifting into earthy browns. Adding a splash of vibrancy amidst the earthy hues is a bright red square, a striking blue rectangle, two yellow and two orange rectangles, as well as a handful of delicate pink shapes. Of these vivacious color bursts, the most arresting is the red square situated in the upper portion of the painting, serving as the focal point and tying together the other highlights in the lower half. Each of these bolder shapes has been artfully coordinated, allowing them to seamlessly blend into the overall collection and collaborate with the surrounding shades of blue and green to create a harmonious and dynamic impression overall.

Studying a composition such as this proves difficult as it appears effortlessly natural, overshadowing the intense effort put into its creation. Apart from the meticulous planning, an eminent sense of balance between the elements was necessary, a skill that can only be partially learned and labeled as such. Even a casual observer can attribute a certain aura to the work, loosely associated with nature, the countryside, and the light at a particular time of day. And it is precisely these moods in the works of Rudolf Jahns that have earned him the title of poet, as a square was not simply a shape for him, but the tangible expression of a profound experience in his life in this world.

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

I do not generally endorse business-oriented publications, yet I will gladly depart from this practice for the sake of this exceptional Dutch magazine. A friend of mine recently brought its existence to my attention and they kindly dispatched a promotional copy to me. Upon perusing it, I was swiftly convinced to procure a subscription.

RODE HARING is a provocative and insightful art magazine that challenges conventional perspectives and highlights the avant-garde in both historical and contemporary art. Known for its sharp visual design and critical approach, RODE HARING brings together diverse voices from the world of art, theory, and design.

In a recent issue, RODE HARING dives into the conceptual world of Daniel Buren, a leading figure in minimal and conceptual art. The magazine explores his use of stripes as a visual language and his interventionist works that question the role of the museum, the gallery, and the context of art itself. Buren’s practice of in situ works and institutional critique is analyzed through essays and exclusive interviews.

Another feature centers on the Oenovis artists’ association, a vibrant collective of contemporary creators who work across disciplines and media. The article explores the roots of Oenovis, its experimental exhibitions, and the collaborative spirit that drives its members. The magazine documents recent projects and discusses the group’s contribution to expanding the boundaries of modern artistic expression.

A historical reflection is offered in an in-depth piece on Michel Seuphor, the Belgian-French writer and artist who played a pivotal role in documenting and theorizing abstract art in the 20th century. RODE HARING revisits Seuphor’s influence on European modernism and highlights his friendships with key figures like Mondrian, Kandinsky, and Arp.

Finally, the issue showcases the intricate and innovative designs of Chris Wegerif, a designer known for his refined work in the Arts and Crafts movement. Through visual essays and critical commentary, the magazine illustrates how Wegerif’s furniture and architectural elements remain both timeless and deeply connected to early modernist ideals.

With its unique blend of contemporary critique and historical perspective, RODE HARING continues to be a vital platform for those who seek to engage deeply with the visual arts.

For subscriptions please visit : www.rode-haring.nl

During the tumultuous year of 1905, Elie Borgrave entered the mortal realm in Brussels, descendent of a Belgian count by the name of Camille de Borchgrave d’Altena and an American socialite, Ruth Snyder. Born into luxury and prestige, his upbringing in World War I led him to eventually reside in the United Kingdom for a brief period before settling in the United States for his adolescence. It was here, in the bustling city of Paris in 1937, that Borgrave’s love affair with the art world began. Inspired by the likes of renowned artists such as Picasso, Klee, Gris, and Braque, he knew from that moment on he was destined to become a painter.

However, fate intervened and World War II forced Borgrave to flee to Brazil. Despite the challenges of adapting to a new country, he was able to make a living as a golf instructor for none other than President Vargas himself. But as the war raged on, Borgrave longed to return to the vibrant art scene of Europe. In 1941, he made his way back to the continent, specifically the United Kingdom, where he crossed paths with Jankl Adler, a well-respected abstract painter from Poland who had been exiled to London from the Bauhaus. Adler would become Borgrave’s mentor, inspiring him to dive deeper into the study of art history and eventually creating his first drawings and paintings. It was during this time that Borgrave adopted the pseudonym ELDEREN, paying homage to a small town in the Belgian province of Limburg.

By 1945, Borgrave found himself back in his home country of Belgium, where he made a trip to Paris and had the opportunity to meet the renowned Paul Klee as well as influential Dutch artists, Geer and Bram Van Velde. The following year, he proudly presented his work at the esteemed “Salon des Réalités Nouvelles” alongside other notable artists like Vasarely, Poliakoff, and the Van Velde brothers. Yet, Borgrave’s journey was far from over. In 1948, he made the bold decision to emigrate to the United States, settling in Stonington, Connecticut and establishing his own art academy. From that point on, he began to sign his paintings with a simple monogram, the Greek letter E, or Epsilon.

Now, through the lens of enigmatic complexity and linguistic dynamism, explore the works of this esteemed artist, delving into the unique mind of Elie Borgrave. Allow his pieces to speak for themselves, as symbols of his journey and his everlasting impact on the art world as we know it.

www.ftn-books.com has 1 Borgrave title available.

Jean Ransy, a Belgian artist, was greatly impacted by his formative experiences during World War I. Hailing from Baulers, he endured the bombing of Namur as a youth, and the brutalities of war heavily influenced his artistic lens.

After relocating to Marchienne-au-Pont, Ransy honed his craft at the esteemed Royal Academy of Fine Arts in Brussels under the tutelage of Constant Montald. He also attended Gosselies Industrial School, enhancing his skills in decoration and monumental painting. Ransy cultivated a meticulous approach to his work and formed deep bonds with fellow creatives, such as sculptor Alphonse Darville, who enriched his artistic journey.

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

Renowned Limburg artist Frans Peeters, who preferred to be known as a sculptor rather than a sculptor, gained worldwide recognition for his polyester sculptures. In 1970, one of his curved forms adorning the Dutch pavilion at the World’s Fair in Osaka. The VPRO made the film ‘The Round World of Frans Peeters’ about his work, clearly outlining the essence of his artistic creations. Peeters produced numerous variations of this original form.

However, his very first sculptures were small plastic figures, botanical fruit and bud shapes, and female nudes. His big breakthrough came with his polyester spherical forms. He eloquently expresses his love for them by saying, “The spherical form is the culmination of the spatial experience. Standing in front of a sphere, I am faced with a flat surface that bends away from me in all directions, until it disappears from view. I suspect that the bending continues, I experience the other side. I am, as it were, facing all sides at once and facing myself.”

He stated his preference by saying, “I want to create sculptures where the material reveals nothing of the artist. That feeling came with my marble sculptures. People admired the polished, milky translucent skin, while I believe that the sculpture should tell its own story. The sculpture must therefore be stripped of any traces of manipulation. That’s when the artist belongs where they belong: outside of the sculpture.”

But even with the use of polyester, he was not finished yet, as he pondered the question of what color the sculpture should be. Black gives the spheres a certain weight that Peeters did not desire. Pure white dominates the spherical form, which is why he chose off-white.

www.ftn-books.com has sa few titles on Frans Peeters,

As a young artist at the tender age of twenty, Friedrich Vordemberge-Gildewart boldly declared his preference for the basic forms of lines, circles, triangles, rectangles, and squares over the traditional repertoire of visible reality. From his artistic beginnings in Hanover, he absorbed important influences – the simplicity and elegance of elementary shapes, the brilliant use of pure color from International Constructivism, and the Dutch style of “De Stijl”. His artistic vision transcended traditional painting, aiming to also create designs for architecture, typography, and advertising, ushering in a new era of artistic expression and lifestyle.

By 1924, Vordemberge-Gildewart’s talent had gained national and international recognition. He was given the opportunity to exhibit at the esteemed “Kestner Gesellschaft Hanover” and was invited to join “De Stijl” along with renowned artists Piet Mondrian and Theo van Doesburg. He was also a part of “L’Art d’Aujourd’hui” in Paris and “Société Anonyme” in New York, collaborating with other notable colleagues. His residency in “die abstrakten hannover”, “cercle et carré”, and “abstraction-création” solidified his position within the international avant-garde.

Even as German National Socialism gained power and deemed him a “degenerate” artist, Vordemberge-Gildewart remained steadfast and active in the avant-garde movement. He was forced to flee his homeland with his Jewish wife, Ilse Leda, finding refuge in the Netherlands in 1938. In 1950, they were granted Dutch citizenship, a grateful and welcoming new home.

In this new environment, Vordemberge-Gildewart continued to create delicate works of art, employing basic shapes, muted colors, and a sense of harmony and musicality.

The PEN Club of the Netherlands bestowed honors upon his poetic compositions, while the II. Biennale of Sao Paulo acclaimed his prowess. Further elevating his esteemed reputation, he was appointed a faculty member at the “Academie van Beeldende Kunsten” in Rotterdam and the “Hochschule für Gestaltung” in Ulm. These endeavors further solidified the admiration surrounding Vordemberge-Gildewart and his creative endeavors.

www.ftn-books.com has several titles on Vordemberge Gildewart available.

Karin Kneffel (born 1957 in Germany) is a German contemporary artisan, renowned for her hyperrealistic paintings that explore themes such as memory, perception, and the passage of time. Kneffel’s creations are characterized by meticulous attention to detail and the use of layered imagery, often in scenes that blur the line between reality and illusion.

“My creative fascination lies in evoking a sense of ambiguity, something that remains just beyond my grasp.” – Karin Kneffel

Her paintings frequently depict domestic interiors, still lifes, and architectural spaces with such precision that they invite viewers to question the reality of what they see.

“In a sense, art is a falsehood, and yet it reveals a truth about everyday life without competing with it. The reality of painting is one realm, while the reality of everyday life is another.” – Karin Kneffel

Reflections, distortions, and transparent surfaces are recurring motifs in her work, adding complexity and depth to seemingly mundane scenes. Kneffel’s art challenges the viewer’s perception and encourages deeper contemplation of how reality is constructed. She has exhibited internationally and is recognized as one of the leading figures in contemporary figurative painting.

www.ftn-books.com has one Kneffel book available.

In the pursuit of artistic expression, Kenneth Martin honed his skills as a graphic illustrator and painter. His formative years were spent in Sheffield, where he attended the School of Art, and later, at the renowned Royal College of Art in London. It was at this institution where he crossed paths with Mary Balmford, who would eventually become his beloved wife and collaborator in creating groundbreaking works of art. While Martin initially focused on naturalistic paintings during the 1930s, he embarked on a journey of intellectual exploration in 1948 by delving into the theoretical works of artists, scientists, and mathematicians. Leveraging these concepts, he meticulously crafted compositions that exuded a sense of harmony. Eventually, Martin’s artistic vision evolved to encompass abstract paintings, which led to the inception of his kinetic constructions in 1951. In addition to these influences, the art of Paul Klee left a lasting impression on Martin, particularly Klee’s skillful use of line.

www.ftn-books.com has several Kenneth Martin titles available.