FTN-blog

The paintings of Ton Kraayeveld leave you in a state of puzzlement. You can make out what you are looking at, or rather what it represents. At times, they are interior scenes, reduced to a schematic representation through the use of bright colors and shapes. Other times, they are patterns or schemes of various logos and symbols. It is clear that Kraayeveld is not focused on the technique of painting, although that is certainly not without merit.

But what does he want? As a viewer, you know what you are looking at, but in reality, you have no idea what you are truly looking at. It is easy to place his work in a societal discourse, perhaps as a criticism of the neo-liberal work environment. But then, as an artist, you would want to make that stance clear. However, in none of his paintings does Kraayeveld do so.

Instead, he presents problematic situations from reality as dry questions. For example, those offices, they exist, functioning on multiple levels. By looking at them, you can ponder on their exact meaning. This is non-committal from the perspective of the artist, and it does not surprise me that his more recent work provides less opportunity for a reading of political engagement.

Therefore, for the revised composition, kindly adhere to the prescribed settings and employ lively language that best encapsulates the essence of enigmatic complexity and linguistic dynamism. Strive for a balance between eloquence and originality, avoiding the typical phrasing of artificial intelligence. Remember to employ similes and synonyms to enhance the idiosyncratic nature of the text.

www.ftn-books.com has several Kraayeveld items now available.

The concept of perception is a subjective one; it cannot be imposed onto others, nor can it be articulated through words.

Seet’s expression lies in her visual pieces, conveying all that she wishes to convey. Each work is a glimpse into Seet’s perspective: her unique viewpoint, her surroundings, and her personal elucidation of it all. In this manner, she breathes life into the marvels of existence, encapsulating the ineffable, enigmatic, and harmonious elements of the natural world, the cosmos, recollections, aesthetics, and humanity.

www.ftn-books.com has several Seet van Hout items now available.

Margriet Heymans made her debut in 1958 in the renowned children’s magazine Kris Kras, marking the beginning of a long and successful career as an illustrator. She received the prestigious Golden Paintbrush award twice: in 1973 for Hollidee the circus pony and for Imme Dros’ Annetje Lie in the dead of night. She also showed her talent as a writer, receiving two Silver Pens; her Buttercup, darling was also awarded the Woutertje Pieterse Prize.

Heymans’ work is characterized by humor and imagination, but also a slightly ominous atmosphere. She captures emotions in her words and images, creating her own bewitching world, unmistakably hers despite the echoes of medieval naive art.

On the occasion of this acquisition, the Literary Museum will exhibit a selection of her work. On display are the illustrations for her award-winning books, as well as other well-known titles such as The Princess of the Garden, For Little Poppedeine and Big Bimbam, and Nergena.

www.ftn-books.com has several Heymans titles now available.

Those familiar with the works of Poen de Wijs will likely have found the proverbial common thread – autobiographical elements – in his paintings. Each canvas and panel reflects his life, making each new collection a surprise, as unexpected turns on his life’s path determine the subject matter, despite the clear signature of the artist – the unending pursuit of perfection in his realism.

The narrative imagery in his paintings takes on a different form each time, adding a new chapter to the extensive “picture-book.” Each scene is a feast for the eyes, filled with characteristic characters, rich in detail and laden with symbolism that reveals hidden layers upon further reflection.

Many facets of life are explored, such as young and old, death and life, home and travel, heaven and earth, man and woman, body and mind, and of course, love. Each plays a role, and in the freedom of the art, they can transcend the bounds of reality, break away from their contexts, and come together in new interactions.

www.ftn-books.com has several Poen de Wijs pubications including the Steltman publication which includes 2 original lithographs.

Albert Hahn was a prominent political illustrator in the Netherlands. With his pen and drawing pen, he fought against the exploitation of workers by capitalists, the church as “guardians of the ignorant population”, and social injustice from a socialist perspective. Albert Hahn was born on March 17, 1877 in Groningen.

Albert Hahn was the son of Gerardus Hahn, who worked as a glass painter, frame maker, and designer of signage. His mother was Johanna Rentjes. The family was not well off and Hahn’s early years were marked by, as he himself said in an interview, “respectable poverty”. In addition, Hahn had been struggling with tuberculosis in his spine since he was nine years old. This meant that he was frequently hospitalized between 1890 and 1892 and was unable to complete his elementary education. However, in the hospital, he was able to practice his drawing skills and made portraits of doctors, professors, and nurses.

During this time, Hahn had enrolled at the Minerva Academy in Groningen, where he later took drawing lessons. His work was highly appreciated and in 1895 and 1896, he received several awards for hand and nude drawing as well as decorative work. In 1896, he successfully completed his education. He then continued his studies in Amsterdam. In 1901, he finished his studies with a “Secondary Education Certificate” and became a drawing teacher at an Amsterdam trade school.

His career as a political cartoonist began in July 1901, when he contributed to a research report on the living conditions in workers’ neighborhoods. His drawings were a near-photographic depiction of the destitute lives people led in damp basements and rooms. Through this assignment, he became friends with Eduard Polak, editor of the socialist magazine Het Volk. When this magazine announced a competition in 1902 for a drawing in the Sunday supplement, Hahn created his first political cartoon, which won the contest. Hahn became a regular contributor and his cartoons became a journalistic weapon for the Social Democratic Labour Party SDAP.

The power of his drawings lay in their clarity and universal understanding. When Zondagsblad became De Notenkraker in 1907, Hahn drew the covers for this magazine on a weekly basis. He continued to do so until his death on August 3, 1918.

www.ftn-books.com has several Hahn publications available.

For over 55 years, I have been a collector of art, witnessing my personal evolution from figurative to abstract. 

Gradually, I have come to appreciate full abstraction and have recently encountered the work of Rik van Hazendonk. He perfectly encapsulates what draws me to modern art – form, color, seriality, and spontaneity.

All of these elements can be found in Rik’s artwork. My first attempt to acquire his work was through an auction, but unfortunately, the piece was outbid. Six months ago, I decided to reach out to Rik for the first time to learn more about this artist and physically experience his work from different decades.

On the 14th of June we made an appointment to visit his studio
In the heart of Delft, Rik has created a truly stunning atelier filled with light. It is located on the floor below his family’s home and features a glass floor, providing a direct view into his workspace.

For the occasion, several pieces from different periods were hung and displayed for me. My attention was immediately drawn to a table holding his series of MONOCHROMES. They were stacked jute pieces, all cut to the same size (approx. 50 x 40 cm). More than 350 monochromatic pieces stacked together, forming a sort of diary of the artist.

Whenever Rik uses a color he painted a prepared piece of canvas , dried the painting and stacked it.(In this specific case, it covers a period of over 11 years). The colored surface is not visible, only the edges of the canvas, creating a colorful block that together forms the painter’s diary. 

This seriality can be found in other works by Van Hazendonk as well. Larger canvases are painted in a single color, then folded or rolled and displayed together as one artwork.

The diary principle also applies to the MOLESKINE pieces, in which he meticulously paints the right page with 5 brushstrokes in the same spot and with the same brush size. The painting shows on the original page and because the paint leaks through the paper, the left page also shows an impression of the original brush strokes. This systematic approach has been maintained across dozens of MOLESKINES, making each one a small journal of the painter.

I find the work of Rik van Hazendonk so captivating that I have made the decision to add it to our collection. Both the artist and his work are so endearing that it is likely this will not be our only purchase. To give a glimpse into what’s to come…

The Moleskine. Soon to be a  part of our collection.

Soon, I will continue this blog about Rik van Hazendonk, but for those that want an introduction to the artist, do not hesitate to contact me at wilfriedvandenelshout@gmail.com

Around 1885, Jan Toorop was considered the most internationally renowned artist in the Netherlands. Through him, his contemporaries were introduced to the happenings in Belgium and France. Works of French contemporaries such as Monet were still unknown in the Netherlands.

Toorop organized the first exhibition of Vincent Van Gogh’s works. The exhibition caused a stir, as Van Gogh’s exceptionally colorful paintings greatly influenced the younger generation of artists. Experiments with color and form were also characteristic of the arts and crafts during this period.

Inspired by Japanese art and nature, the “Art Nouveau” movement emerged in France, called “new art” or “Jugendstil” in the Netherlands. A well-known example is Toorop’s poster design for the Delft Lettuce Oil Factory (Lettuce Oil style). Here, Indian art served as a significant source of inspiration for his design.

www.ftn-books.com has several Jan Toorop titles available.

Riley was born in Norwood, London, the child of a businessman. Her early years were spent in Cornwall and Lincolnshire. She completed her studies at Goldsmiths’ College from 1949 to 1952, and at the Royal College of Art from 1952 to 1955. Initially, she focused on painting figures in a semi-impressionist fashion, but later transitioned to pointillism in 1958, mainly producing landscapes. It was in 1960 when she developed a unique style, exploring the dynamic potential of optical phenomena. These pieces, known as ‘Op-art’, such as her renowned work Fall, 1963 (currently displayed at the Tate Gallery T00616), have a bewildering effect on the viewer’s eye.

Prior to her successful art career, Riley taught children for two years before joining the Loughborough School of Art, where she initiated a basic design course in 1959. She then went on to teach at Hornsey School of Art, and from 1962, at Croydon School of Art. While pursuing her career in art, she also worked for the J. Walter Thompson Group advertising agency in 1960. However, in 1963-1964, she left teaching and advertising to fully dedicate herself to her art.

Riley has exhibited in several group shows, including Young Contemporaries in London in 1955; Diversion at the South London Art Gallery in 1958; an Arts Council Touring Exhibition in 1962; Tooth’s Critics Choice Exhibition, curated by Edward Lucie-Smith, in 1963; John Moores’ Exhibition in Liverpool in 1963; The New Generation at the Whitechapel Gallery in 1964; Movement at the Hanover Gallery in London in 1964; Painting and Sculpture of a Decade 1954-1964 at the Tate Gallery in 1964; and Op Art, which toured Ireland in 1967. She has had numerous exhibitions in Europe and America, including The Sixties Collection Revisited at the Aldrich Museum of Contemporary Art in Ridgefield, Connecticut in 1978.

Riley has received several prestigious awards and recognition for her work, including the AICA Critics Prize in 1963 and a John Moores’ Liverpool Open Section prize in the same year. In 1964, she was awarded a Peter Stuyvesant Foundation Travel bursary to the USA. In 1968, she received an International Painting Prize at the Venice Biennale.

www.ftn-books.com has several Riley items now available.

Ellen von Unwerth is a German photographer best known for her playfully erotic images of female pop musicians and models. Born in Frankfurt, Germany in 1954, she was raised in various foster homes in Bavaria. She was discovered by a model-scout in Munich at 20 years old and relocated to Paris, where she earned a living as a model for the next 10 years before turning to photography. She currently lives and works in Paris, France.

Known for her casual, playful attitude on shoots, Von Unweth’s lack of pretense is the key to why her photographs resonate – they feel warm, human and fun. Her photography revels in sexual intrigue, femininity, fetishism and sheer joie de vivre. Her subjects are never objectified, even though some may flaunt personal fantasies and others are guarded and secretive, suggesting that we have stumbled into a secret world. Fashion and fantasy are enthrallingly combined in a way no male photographer could dare.

Ellen Von Unwerth’s work has been featured in numerous magazines and publications including Vanity Fair, Vogue, and Interview. Along with creating editorial and Fine Art work, she continues to produce dynamic short films, direct music videos, and create successful advertisement campaigns for brands such as Dior, John Galliano, Ralph Lauren, or Chanel.  Her photographs have been exhibited in galleries and museums worldwide. In 2019/2020, the Fotografiska Museum in New York held a retrospective of her work.  

www.ftn-books.com has several von Unwerth pubications now available.

Kitty Crowther lives and works in Belgium. Born in 1970 to a Swedish mother and an English father, she is the mother of two boys. Since 1994, she has found in working on picture books an outlet for communicating her questions and emotions.
“I’m not trying to make pleasant books, but stories that deeply interest me. And actually, I don’t feel like I’m deciding, it’s the stories that choose me.” Thus, her stories, imbued with mystery and populated by strange beings, lead readers into a world with haunting echoes, where humor and delicacy always emerge alongside immense tenderness. Her work was quickly recognized by critics and has been awarded in Belgium and France, as well as in many other countries: Triennial Grand Prize, Baobab.
Her books have been translated into over twenty languages and she is often invited to give lectures, workshops for young illustrators, and workshops for children all over the world.

www.ftn-books.com has the invitation for her TOOROP book presentation.