Alongside Paul Signac, he focused on the theoretical principles of color interaction. His technique of portraying light through the use of small brushstrokes of contrasting colors became known as divisionism. A less accurate term is Pointillism, as this refers more to the application technique. He tested his theory that the small dots would mix together in the viewer’s eye at a distance for the first time in his large canvas La baignade à Asnières (1883-1884; National Gallery, London), although the colors themselves were still mixed.
In subsequent works, including the large canvas Dimanche d’été à la Grande Jatte (1886; Art Institute of Chicago in Chicago), he placed unmixed colors next to each other, a method that is characteristic of neo-impressionism, of which he was a prominent representative.
In addition to a number of large pieces, Seurat also painted landscapes, genre scenes, and portraits. His design is balanced, taut, and geometric in structure. Not only in technical terms but also in atmosphere, Seurat’s style differs from impressionism, among other things because he soon ceased to pay attention to natural light and created most of his large works in his studio.
In his later large-scale works, he primarily focused on capturing movement, as seen in Le chahut (1889-1890; Kröller-Müller Museum in Otterlo) and Le cirque (1891; unfinished; Musée d’Orsay in Paris).
www.ftn-books.com has some Seurat titles available
Willem Mengelberg, the renowned conductor of the Amsterdam Concertgebouw Orchestra, was enraptured by Mahler’s music upon witnessing the first performance of his Third Symphony in Krefeld (G) in 1902. From that moment on, he fervently championed Mahler’s music, hailing him as “the Beethoven of his time”. Mengelberg’s unwavering dedication to introducing Mahler’s music resulted in him attaining a prominent position in both The Netherlands and Europe, surpassing his contemporaries in this regard.
Multiple times, Mengelberg endeavoured to persuade Mahler to conduct his own works in Amsterdam. This aspiration was partly realized in 1903, 1904, 1906 and 1909, during which the composer resided with the Mengelbergs in their home. However, due to his numerous commitments elsewhere, Mahler often had to decline Mengelberg’s invitations to conduct.
Mengelberg’s resolve in promoting Mahler’s music should not be disregarded. During that time, a significant portion of the audience would leave the concert hall to protest against Mahler’s music, which was often subjected to ridicule by critics. Undeterred, Mengelberg firmly believed in Mahler’s genius, inspiring him to endure in his tireless efforts, even if it meant going against the current. Eventually, after years of perseverance, a ‘Mahler community’ emerged in The Netherlands, laying the foundation for the tremendous success of the ‘Mahler Feest’ in 1920, garnering global recognition. In the 1920s, Mengelberg, now also the conductor of the New York Philharmonic, continued his crusade to introduce Mahler’s music to the American audience.
Mengelberg stands as one of the primary pioneers of Mahler, deserving a special place of honor in our memory. His relentless dedication to familiarizing a wider audience with Mahler’s music significantly contributed to the international Mahler culture of that era.
Willem Mengelberg, the renowned conductor of the Amsterdam Concertgebouw Orchestra, was captivated by Mahler’s music when he attended the premiere of his Third Symphony in Krefeld (G) in 1902. He immediately took it upon himself to promote Mahler’s music, declaring him as “the Beethoven of his time.” Through his tireless efforts, Mengelberg gained a prominent position in both the Netherlands and Europe, surpassing other contemporary conductors in his commitment to introducing Mahler’s music.
The Willem Mengelberg archives, housed in the Netherlands Music Institute, hold a wealth of materials including his conducting scores. These scores are marked with colorful annotations that offer insight into Mengelberg’s interpretation of the works. Many of these scores also feature instructions and remarks from Mahler himself, providing tangible evidence of the close relationship between the two great musicians.
Why focus on Mengelberg in this blog? It was nearly 20 years ago, well before the surge of elaborate publications such as those by Newton and Araki, that a remarkably large and impressive book was published for the Mengelberg Festival 1995. Weighing over 5 kilograms and encased in a blue linen covered container, this publication includes a text volume and a separate volume featuring Mengelberg’s musical scores complete with his annotations. What makes this facsimile even more special is that it was designed by one of my personal heroes, Wim Crouwel. This publication will remain in high demand for many years to come and is a rare find. I am pleased to offer two pristine copies from a remainder stock on www.ftn-books.com.
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Lee Friedlander is a groundbreaking American photographer renowned for his pioneering portrayals of urban streets. His street photography often captures unposed portraits of individuals, striking signs, and subtle reflections of himself in storefront windows, showcasing the unexpected interplay of light and subject matter within the bustling cityscape. In his own words, “I’m not a calculated photographer. You don’t have to search for photos. The material is abundant. You go out and the photos are staring at you.” Born on July 14, 1934 in Aberdeen, WA, Friedlander honed his skills at the Art Center College of Design in Pasadena before relocating to New York in 1956. Influenced by the artistry of Eugène Atget and Walker Evans, he strived to view the world from an outsider’s perspective, spontaneously responding to the endless potential of images surrounding him. Along with Diane Arbus and Garry Winogrand, Friedlander was featured in the groundbreaking exhibition “New Documents” at The Museum of Modern Art in 1967, curated by John Szarkowski. He later gained critical acclaim with the publication of his acclaimed photography book, The American Monument, in 1976. In more recent years, Friedlander released America by Car in 2010, a book accompanied by an exhibition at the Whitney Museum, showcasing a series of photos captured on road trips from the driver’s seat of rental cars. The influential artist continues to reside and create in New York, NY. Today, his compelling photographs are held in prestigious collections such as the Art Institute of Chicago, The Metropolitan Museum of Art in New York, the Los Angeles County Museum of Art, and the Victoria and Albert Museum in London, among others.
www.ftn-books.com has the much sought after MARIA publication now available.
Hailing from Hokkaidō, Japan in 1953, Tadashi Kawamata currently resides and works in both Tokyo and Paris. His artistic journey, which began in the 1970s when he studied painting, sets itself apart with a notable lack of complacency. Nothing is taken for granted as Kawamata immerses us in a process that demands careful examination of the environments we create for ourselves, provoking questions of human needs and desires. With a keen eye for context, Kawamata selects his gestures and materials with great precision.
Renowned for his in situ interventions, Kawamata pieces together installations using various materials such as wooden planks, chairs, and barrels. Utilizing these materials, he constructs fragile Babylonian structures, treehouses, roof installations, and even stretches them out to form serpentine shapes. For those who dare to experiment with his works, climb up onto them, or simply set foot on them, a new perspective is revealed – in every sense – of the space they are situated in.
Kawamata’s work has been displayed in prominent international institutions, including MAAT in Lisbon (2018), Pushkin Museum in Moscow (2018), Made in Cloister in Napoli (2017), the Thurgau Art Museum in Switzerland (2014), the Centre Pompidou in Paris (2010 and 2016), the Toyosu Dome in Tokyo (2010-2013), the HKW in Berlin (2009), the Art Tower Mito in Mito (2001), the Serpentine Gallery in London (1997), the Artpace San Antonio (1998), and the MACBA in Barcelona (1996). He has also been featured in various art biennales, such as the Venice Biennale (1982), documenta 8 and IX (1987 and 1992), the international Biennale of São Paulo (1987), the Contemporary Art Biennale in Lyon (1993), the Skulptur Projekte Münster (1997), the Sydney Biennale (1998), the Jerusalem Biennale (1999), the Echigo-Tsumari Art Triennale in Niigata (2000), the Shanghai Biennale, and the Busan Biennale.
Regarded as the pioneer of the New Typography, Tschichold’s influence can be seen in the works of Sandberg, Crouwel, and other great designers. An education in Germany sparked his interest in typography when he visited an exhibition at the Bauhaus/Weimar in 1924. However, instead of registering himself in Nazi Germany, Tschichold chose to flee with his family to Switzerland due to safety concerns. He spent the rest of his life there, except for a brief period in England from 1947 to 1949, where he revamped the covers for over 500 Penguin pocket books. Many may not be familiar with Tschichold’s name, but chances are they have a Penguin pocket book on their shelf that was designed by him. Not only was Tschichold a master of design, but his use of new fonts and clean typography made his work highly recognizable. Want to delve deeper into the world of typography? Tschichold is a must-know figure and a great place to start.
If one were to inquire among the multitude of photo collectors in the Netherlands about the most significant photographer of the 60’s and 70’s in the country, it is almost certain that over 50% would mention Fieret.
In the last two decades of his life, Fieret secluded himself, distancing himself from ordinary society and spending his days feeding pigeons and creating numerous drawings. He even isolated himself for nearly a month to embellish an entire room in the Gemeentemuseum with his artwork.
However, during the 1960’s and 1970’s, Fieret’s primary focus was photography. He captured images from a unique and personal perspective, often “signing” them with studio stamps across the photos. Fieret had a discerning eye, always choosing to photograph from unconventional angles and perspectives, setting his work apart from other photos of the era. He particularly favored young women as subjects, along with street scenes, effectively documenting the essence of 1960’s Netherlands. For the past 15 years, Fieret’s work has been displayed in exhibitions beyond the Netherlands, including the United States where his first US exhibition was held at the Deborah Bell Gallery. The catalogue for this exhibition is available at www.ftn-books.com, among other resources.
In her reflection on her first encounter with Fieret’s work, Gaby Wood writes:
“Like most unfamiliar with Dutch culture, I had never seen Fieret’s work before. The examples displayed by the Rijksmuseum, however, are not entirely representative of his entire portfolio. Fieret is most renowned for his female nudes, yet the images I saw were more ethereal in nature. Nevertheless, I was immediately drawn to them: a large, obsidian print featuring a pale, milky-colored little girl, blurred almost to the point of abstraction; an aged interior, its contours so fuzzy it bordered on double-exposure; the self-portrait of a bearded man, captured in a manner appearing unintentional yet still conveying a sense of intense concentration.
The prints themselves were raw: uncropped, handled roughly and discolored along the edges; boldly signed with thick black marker. Some even contained small tears.
www.ftn-books.com has now a good selection of Fieret books and items available.
One notable creator, omitted in my previous blog discussing Topor, is Roman Cieslewicz. Cieslewicz, a close acquaintance of Topor who resided in Paris, rose to prominence in the 1960s with his graphic design for prestigious publications such as Vogue and Elle, as well as for various event posters.
For the Dutch, the Stedelijk Museum presented his work for the first time in 1973. A superb catalogue, crafted by Wim Crouwel, was published in commemoration of the exhibition. This showcase demonstrated the remarkable talent of Cieslewicz, with the majority of the collection featuring his poster designs over the span of two decades.
Cieslewicz stands as an exceptional artist, whose recognition in his lifetime was far less than what he receives today. In recent years, his books have piqued the interest of graphic art students worldwide, a testament to his rising popularity. It is only a matter of time before books on Cieslewicz become scarce collectibles.
The catalogue is currently available at www.ftn-books.com, a valuable addition to any collection.
www.ftn-books.com has several titles on or with Roman Ciesliewicz available.
Peter Struycken, born in The Hague in 1939, was one of the first artists in the Netherlands to incorporate computers into his artistic process around 1969. He was also among the first to create artwork on a large scale for public spaces and buildings.
Struycken’s work takes on various forms – paintings, drawings, installations, and moving images – characterized by abstract patterns and figures. These, along with color and light, play a significant role in his installations. In 1981, Struycken designed the well-known postage stamp featuring former Queen Beatrix, made up of countless tiny dots varying in size. This stands as a unique piece in Struycken’s body of work as figurative elements typically do not feature in his pieces.
Since 1987, Struycken has also designed lighting plans and theatrical sets. This is evident in his piece “Untitled” from 1993, which is a part of the colonnade beneath the archive building of Het Nieuwe Instituut in Rotterdam. “Untitled” illuminates the publicly accessible colonnade – the columns – after sunset.
Every ten minutes, the colors of the columns change, controlled by a computer program that ensures the red, green, and blue lamps display a different combination of primary and mixed colors each time. This theatrical passage becomes almost like a stage, an ambiguous space neither indoors nor fully outdoors.
Struycken studied at the Royal Academy of Art in The Hague (1957-1961). From 1964 to 1976, he led a department specializing in environmental art at the art academy in Arnhem. (Group) exhibitions of Struycken’s work have taken place at institutions such as Museum Boijmans Van Beuningen (Rotterdam), the Stedelijk Museum Amsterdam, Galerie De Expeditie (Amsterdam), and the Stedelijk Museum Schiedam.
Michael Parkes initially painted in the Abstract Expressionist style, as taught by his professors, but a period of introspection led him to switch to a meticulous representation style. This allowed him to fully express his inner world of images.
Michael Parkes is a renowned painter, sculptor, and lithographer known for his magical realism works. Despite the challenging nature of the art world, he has achieved success and his pieces are sought after by celebrities, private collectors, and galleries worldwide. He has been exhibiting his works since 1977, when he had his first one-man show in Amsterdam. His exhibitions have taken place at prestigious events such as the Basel in Switzerland, Art Chicago, and Art fair NY, among others.
While he studied graphic art and painting at the University of Kansas, Parkes’ unique style developed during a period of isolation when he temporarily stopped creating art and traveled to India in search of spiritual enlightenment. His style is rooted in realism but incorporates magical elements, earning him the title of a Magic Realism artist. Drawing from both Eastern and Western esoteric doctrines, Parkes’ imagery is a fusion of various wisdoms such as cabalistic and tantric teachings, translated through his own imagination. Within his work, strange creatures coexist with winged women, the eternal battle between good and evil rages on (though it is often unclear which side is which), and entire worlds are created and destroyed in an ethereal realm, closer to the desires of the heart.
www.ftn-books.com has several Michael Parkes collectibles now available.
Artist/ Author: Oliver Boberg
Title : Memorial
Publisher: Oliver Boberg
Measurements: Frame measures 51 x 42 cm. original C print is 35 x 25 cm.
Condition: mint
signed by Oliver Boberg in pen and numbered 14/20 from an edition of 20
