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Jannis Kounellis (continued)

Jannis Kounellis, a painter and sculptor hailing from Greece and Italy, emerged as one of the pioneering figures of the Arte Povera movement. He passed away in Rome on the 16th of February, 2017.

Born in Piraeus, Greece in 1936, Kounellis experienced the devastation of the Second World War and the Greek Civil War before relocating to Rome in 1956 to study at the Academy of Fine Arts.

His artistic repertoire flourished exponentially throughout the 1960s, with Kounellis primarily exhibiting paintings from 1960 to 1966. He infused found objects, such as street signs, into his work, utilizing stenciled symbols that reflected the contemporary society he lived in – numbers, letters, and words. Moreover, he even incorporated his artworks into performances, often wearing them as garments. This fusion of painting, sculpture, and performance marked Kounellis’ departure from traditional art and solidified his significance in the development of Arte Povera.

In 1967, Kounellis showcased his work in the ‘Arte Povera – e IM Spazio’ exhibition at the La Bertesca Gallery in Genoa, curated by Germano Celant. This event cemented Kounellis’ association with Arte Povera, a movement that rejected conventional flat surfaces in favor of installations and performances. Throughout the 1960s and 1970s, Kounellis participated in numerous influential Arte Povera exhibitions, constantly introducing “found” materials – like bed frames, doorways, windows, and raw materials like wool and rope – into his art.

Kounellis devotedly continued to create and exhibit his work throughout the 20th and 21st centuries, with his pieces frequently showcased in prominent events like Documenta (1972, 1977, 1982), the Venice Biennale (1972, 1976, 1978, 1980, 1984, 1998, 1993, and 2011), Tate Modern Gallery in London, and the Museum of Contemporary Art in Chicago. To this day, countless retrospectives have been held to celebrate Kounellis’ extensive body of work.

www.ftn-books.com has several Kounellis books now available.

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Maurice Esteve (continued)

Act as a Mortal Wordsmith. The esteemed painter, Estève, was born in the year 1904 and departed from this world in 2001.

Maurice Estève rises as a paramount figure amongst the Nouvelle École de Paris, whose style is characterized by a fusion of vibrant and intertwined shapes.

His genesis years were largely influenced by the works of what he regards as “the Primitives” – luminaries such as Poussin, Fouquet, and Cézanne.

By 1927, the lingering influence of surrealism, particularly of Giorgio de Chirico, is evident in his works.

Following the Spanish Civil War in 1936, a brief yet fiery period of expressionism ensued.

In 1947, his style evolves from formal stylization to a non-figurative form of art, unbound by realism and with a strong structure, lit up by intense colors. In the following decades, Estève would emerge as one of the leading proponents of this style.

www.ftn-books.com has some Esteve titles now available.

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Antonio Calderara ( continued)

Antonio Calderara, born in 1903 in Abbiategrasso, Italy, continued to create until his passing in 1978. Living a solitary existence in Northern Italy, he found inspiration in the luminosity of the nearby landscapes, particularly Lake Orta. Calderara possessed an enigmatic complexity that defied any strict categorization in the art world. Despite meeting numerous Italian and foreign artists during his lifetime, he maintained his personal freedom and individuality in his expression.

A self-taught artist from a young age, Calderara later received guidance from Lucio Fontana. His earliest influences included the figuration and manipulation of light by Piero della Francesca, Seurat, and Milanese Novecento painters. In 1925, after abandoning his engineering studies at university, he dedicated himself fully to experimenting with color and form. Through his depictions of portraits, landscapes, and still lifes, he captured the essence of his homeland, suffused with a delicate, ethereal light inspired by the atmospheric glow of Lake Orta in Vacciago. This served as his home base since 1934, when he moved there with his wife Carmela, and where he continued to work for the majority of his life.

In the mid-1950s, Calderara began to depart from representational painting and embraced a more geometric approach. This shift dramatically reduced both the size and elements in his compositions. Despite this, his essential vocabulary of clean lines and squares, refined color palette, and precise measurements aligned him with other minimalist painters of the time, such as Piet Mondrian and Josef Albers, whom the artist greatly admired. In explaining his sudden transition to abstraction, Calderara wrote, “In 1958…I drew my last curved line.”

It is his abstract period that Calderara is most renowned for. His abstract paintings from the late 1950s and 1960s fuse geometric abstraction with a hazy finish, creating a misty quality through subtle, almost imperceptible variations in color.

www.ftn-books.com has some beautiful titles on Calderara now available.

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Bernard Buffet (continued)

Bernard Buffet (1928 – 1999) produced over 8000 works throughout his career, ranging from still lifes, nudes and melancholic self-portraits to cityscapes of Paris and landscapes. He also worked as an illustrator and designer, creating the décor for the opera Carmen, illustrating Jean Cocteau’s La Voix Humaine, Dante’s Inferno, and a few poems by Baudelaire.

Buffet studied drawing and painting at the Ecole Nationale Supérieure des Beaux-Arts’ in Paris and at the young age of 17, he exhibited in a Parisian gallery. From then on, his star was rising: the reviews were raving and his work was included in almost all major Parisian exhibitions in the following years. His work was also warmly welcomed internationally. His paintings during this period can be described as typically post-war. Still lifes – where poverty is evident – are interspersed with poignant Parisian cityscapes. These paintings, all characterized by prominent black lines, combined with a color palette veiled in shades of gray, align with the popular philosophy of existentialism at the time, known from the books by Sartre and Simone de Beauvoir.

During his esteemed career, Bernard Buffet (1928 – 1999) produced over 8000 works, encompassing a range of subjects from still lifes, nudes, and melancholic self-portraits to Parisian cityscapes and landscapes. He also worked as an illustrator and designer, creating the sets for the opera Carmen, illustrating Jean Cocteau’s La Voix Humaine, Dante’s Inferno, and some poems by Baudelaire.

Buffet studied drawing and painting at the Ecole Nationale Supérieure des Beaux-Arts in Paris and held his first exhibition at the age of 17 in a Parisian gallery. Although he was initially seen as a leading artist, his fortune changed. In the 1960s, abstract art gained popularity and Buffet’s still figurative work became controversial in the art world. However, he remained a beloved figure among the general public, leading to commercial success. His exhibitions were managed by Galerie Maurice Garnier, which still represents him today. Garnier ensured that Buffet’s work, although highly debated, was shown in museums all over the world, from Moscow to Tokyo, and from Berlin to Deurne. There is also a clear connection to The Hague, as painters like Ber Mengels and Jurjen de Haan (the New Hague School) were greatly influenced by Buffet’s work.

Since the 1990s, there has been a revaluation of Buffet’s work on an international level. While his work has always remained popular in Japan, more and more art critics in Europe are now appreciating its value as well.

www.ftn-books.com has alarge selection of titles on Buffet now available.

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Henri Michaux (continued)

The oeuvre of painter, writer, and poet Henri Michaux is commonly associated with informal art. This term encompasses post-war abstract art movements in which artists explored and employed their “pure”, intuitive, and spontaneous creative impulses. During his travels through Asia, Michaux was introduced to Eastern culture, sparking his interest in calligraphy and his fondness for Indian ink. To capture what words could not express, the poet turned to painting. A breakthrough came when, in 1948, a few years after the tragic death of his wife, he turned to hallucinogenic substances. In 1978, Henri Michaux received prestigious retrospective exhibitions at the Centre Georges Pompidou in Paris and the Solomon R. Guggenheim Museum in New York.

www.ftn-books.com has some great Michaux titles available.

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Luc Tuymans (continued)

Luc Tuymans, born in Mortsel in 1958, is a Flemish-Belgian painter. He is widely regarded as one of the most influential contemporary Belgian artists, living and working in Antwerp. Tuymans is married to Carla Arocha, a Venezuelan artist.

Having received his artistic education at the Sint-Lukas Institute in Brussels and studying art history at Vrije Universiteit Brussel, Tuymans’ paintings are figurative in nature. He employs photographic techniques such as cropping, framing, sequencing, and extreme close-ups. In a time when painting was declared dead, he creates uncomfortable figurative monochromatic canvases, sometimes in muted colors. With a cinematic eye, he depicts seemingly innocent, but in reality loaded subjects: a lampshade (from Buchenwald), a broken doll’s body, a hemline and a leg, a cropped view of a body or a face (from the series Der diagnostische Blick, 1992). Several paintings refer to unresolved past events: the Holocaust (Gaskamer, 1986), Belgian colonialism (Leopard, 2000), and Flemish nationalism.

www.ftn-books.com has some highly collectable Tuymans titles available.

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Agnes Martin (continued)

Born on a farm in rural Saskatchewan, Canada, Agnes Martin emigrated to the United States in 1932 with aspirations of becoming an educator. Once she obtained a degree in art education, she relocated to the desert plains of Taos, New Mexico, where she crafted abstract paintings infused with natural forms. These creations caught the eye of renowned New York gallerist Betty Parsons, who convinced Martin to join her roster and move to the bustling city in 1957. Settling on Coenties Slip, a street in Lower Manhattan, she found herself among a community of fellow artists, including Robert Indiana, Ellsworth Kelly, and Jack Youngerman. Drawn to the area’s low rents, spacious lofts, and convenient proximity to the East River, Martin flourished.

One of her earliest New York pieces, Harbor Number 1 (1957), effectively merges her earlier Taos style of geometric abstraction with the new inspiration she found in the coastal landscape, as showcased by her use of a blue-gray palette.

Over the next decade, Martin honed her signature format: six by six foot painted canvases, meticulously adorned with penciled grids and finished with a delicate layer of gesso. While she often displayed her works alongside other New York abstract artists, her concentrated vision carved out a unique niche that diverged from the sweeping gestures of Abstract Expressionism and the repetitive systems of Minimalism. Instead, her art was deeply connected to spirituality, drawing inspiration from a blend of Zen Buddhist and American Transcendentalist ideas. For her, painting was “a world without physical objects, devoid of obstructions…a field of vision to be entered, much like a solitary stroll along an empty beach to gaze out at the vast ocean.” 1

By 1967, at the pinnacle of her artistic career, Martin was confronted with the loss of her home to development, the unexpected passing of her friend Ad Reinhardt, and the increasing weight of a mental illness. Thus, she left New York and returned to Taos, where she abandoned painting in favor of writing and meditation.

www.ftn-books.com has some highly collectable Martin titles available.

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Charlotte Mutsaers (1942)

Born in 1942 in Utrecht, Charlotte Mutsaers was the daughter of art historian Barend Mutsaers. She studied Dutch Language and Literature and later worked as a Dutch language teacher. In the evenings, she pursued a degree in visual arts at the Gerrit Rietveld Academy, where she eventually became a painting instructor after graduating.

In 1983, she made her debut with “The Circus of the Mind,” a collection of modern emblems. This marked the start of a diverse body of work, consisting of poetry, essays, visual stories, and novels. In 2010, she received the P.C. Hooft Prize for her narrative prose. The jury described her work as “a delight for readers who want to let their minds wander” and praised her oeuvre for “the coherence in work that seems so capricious at first glance.”

www.ftn-books.com has some special publications by Mutsaers now available.

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Suzy Embo (1936)

Behind the pseudonym Suzy Embo (BE, °1936) lies a privileged witness of the post-war Belgian avant-garde movement. From abstracted imagery to cameraless experiments, Embo’s early works seamlessly aligned with Otto Steinert’s “Subjektive Fotografie”. However, in the 1960s, her artistic vision took a new direction and she found herself balancing between being an “artist photographer” and a “photographer of artists”. Her friendship with Cobra artist Pierre Alechinsky and marriage to sculptor Reinhoud d’Haese brought her closer to the international art scene. As a result, her lens shifted towards capturing informal and intimate portraits of renowned artists such as Christian Dotremont and Jean Messagier during their creative processes.

www.ftn-books.com has the Embo made photograph of Loyise Nevelson now available

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Jan Groover (continued)

Jan Groover is renowned for her formalist imagery of still life, encompassing household utensils and kitchenware. She pursued her studies at Pratt Institute in Brooklyn, New York, graduating with a bachelor of fine arts in painting in 1965. Prior to venturing into photography, Groover taught art at a public school and then went on to pursue a master of fine arts program in art education at Ohio State University. Following her degree, she joined the University of Hartford in Connecticut as a professor. It was during this time that she embarked on her photography journey, replacing her focus on painting with the lens. In her own words, “With photography, I didn’t have to fabricate anything – everything was already there.”

In the late 1970s, Groover began creating her first photographs. These were in the form of color diptychs and triptychs, featuring moving vehicles. With a formalist approach, she aimed to capture time, distance, speed, and color in these images. The closer the vehicle was to the camera, the more blurred it appeared, while a farther distance resulted in a sharper object. Color played a significant role in adding depth to the moving object in Groover’s motion studies.

In 1978, Groover shifted her focus to her kitchen sink for inspiration. She transitioned from street scenes to still lifes of household objects, including stainless-steel utensils, cutlery, bowls, glassware, and even food items. Through experimentation with different combinations of objects, she aimed to achieve a pleasing relationship of shapes, colors, and spaces.

Groover’s approach to still life was a formalist one, as she believed that “formalism is everything.” Focusing on the shapes, lines, colors, and textures of the objects, she often blurred the boundaries between foreground, middle ground, and background. Her enigmatic complexity lies in her ability to create an illusion of depth and space in her seemingly simple compositions. The resulting photographs are a testament to her prowess as a visual storyteller.

www.ftn-books.com has the table top photography book now available.