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Erté / Romain de Tirtoff (1892-1990)

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It was at the time i was living in Paris, that i frequently walked the rue du Seine , it is the place where all the art galleries used to have their exhibitions. Among them there was one who was showing the most beautiful Erté drawings and gouaches. I wondered why a gallery in Paris had such a huge selection (they had a few hundred of these drawings in stock ) but later i realized that the reason probably was that many of the theaters in Paris commissioned Erté their costume designs for their plays and shows. If i had known at that time that Erte was going to be one of the most important Art Deco artists i should have borrowed some money and bought me some Erté’s .

Later i managed to buy 2 drawings at auction at a fair price and these are sold some 20 years ago, but the memory of these walks along the gallery window in the rue du Seine remains.  I should have kept these auction drawings too, but decided at that time to make some profit on them.

As it is …. there are only a few publications that rest me and all these are available at www.ftn-books.com

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Rembrandt van Rijn (1606-1669)

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The people who know my taste in art , know also that i am not the greatest fan of Rembrandt his painting.

Technically Rembrandt belonged to the avantgarde of his age, but emotionally he never hit the right spot with me. Still there is one exception for Rembrandt as an artist, ….i admire his etchings. And this is feeling is emphasized since i recently acquired a book totally devoted to his erotic etchings.

rembrandt ertoiques

A french publication from 1978 which is according to my knowledge complete. The etchings are depiceted 1:1 and show exactly why I consider Rembrandt a great etcher. The only diappoint is that pubication is not a facsimile one, but i can still highly recommend it. Other titles on Rembrandt available at www.ftn-books.com

 

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Pierre Weiss (1950)

 

An exhibition of which i remember a hellish ride to Gent to see the print proofs of the catalogue on Pierre Weiss.  One of the first exhibitions curated by Franz Kaiser and with a catalogue designed by Gracia Lebbink. The printers waited for my arrival, but extremely heavy rain showers delayed my arrival by some 2 hours. After finally arriving it was the lunch break at the printers and lunch is “holy” in Belgium. Everybody stops working and has lunch. So did i . I was invited by the printers to have lunch and with them it meant a very nice lunch indeed at one of the finest restaurants in Gent. a 3 course lunch was normal including 2 glasses of great wine and a coffee it made me forget the terrible ride i had to arrive in Gent. This was almost 30 year ago now. I have forgotten the catalogue on Weiss, but the ride is still a vivid memory.

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Hans-Willi Notthoff (1959)

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This is one of the artists who was included within the stack of German artists books i bought recently. What characterizes Notthoff works is the bright colors that are used in all his works. Making these joyful , colorful paintings which resemble a bit the Hard Edge paintings from the early Seventies. Of course not hard edge but more Pop Art like, but still colorful compositions. Far less complicated and intriguing than the paintings by Richard Schur , which i recently acquired, but still nice and colorful abstract paintings and worthwhile to check out if you can.

Hans-Willi Notthoff

1959 in Mönchengladbach geboren
1980–1989 Studium an der Kunstakademie Düsseldorf
1989 Meisterschüler
1993 Villa Romana-Preis, einjähriger Aufenthalt in Florenz
1994–1999 Lehrauftrag für Malerei und Zeichnen an der Kunstakademie Düsseldorf
1995–1997 Lehrauftrag für Grundlagen der Gestaltung und Freihandzeichnen an der Universität/GH Essen
seit 2007 Dozent für Malerei und Freihandzeichen im Lernort Studio, Düsseldorf
Lebt und arbeitet in Düsseldorf

this is the publication available at www.ftn-books.com

nothoff

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Outsider Art of atelier de Herenplaats

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By chance i found a publication by atelier de Herenplaats. An artist studio for the mentally deficient and i was really surprised to find some great art within this publiucation. This Art Brut/Outsider Art is matured and must be considered as true art. The spontanious compositions delight and i have read on the site of de Herenplaats that many of their artist have had their ( international) presentations in galeries and museums.

de Herenplaats site can be found on this address: www.herenplaats.nl

and www.ftn-books.com has the Herenplaats publication now for sale in its shop.

visjes

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Ad Dekkers , Tekeningen 1971/9174

 

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This is the title of one of the most important artists books in dutch art.  Yes, of course tghis is my personal opinion, but look at it and you will undoubtedly agrre with me.

The publication was neglegted for over 3 decades, but now that the art of Dekkers is discovered again, the interest in his publications rises too. ……and, this is one of the nicest and best of his publications . Just some details. designed by Baer Cornet, printed by one of the best in the business, Rosbeek, who were up to the extreme printing qualities of the drawings that had to be reproduced in this 1977 publication. Oblong shaped, cahier stitching and a very small print run makes this a highly desirable and collectable artist book and available at www.ftn-books.com

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Graham Sutherland (1903-1980)

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When i looked for information on Sutherland I found this excellent article on the WIDEWALLS site.

One of the leading British artists of the 20th century, Graham Sutherland was widely known for his prints and paintings. Despite some other names coming to mind before him when talking about the art history, such as David HockneyFrancis Bacon, or Lucian Freud, there was a time when Sutherland ruled undisputed. From mid-1930’s, when he established his identity as a modern painter, to the 1950s, when his influence began to wane, there was a widespread consensus amongst fellow artists and critics that Sutherland was the most exciting and compelling voice in contemporary British painting.[1] He was even commissioned to paint a portrait of Winston Churchill, in what turned out to be one of the most famous cases of the subject disliking the artwork, which eventually led to its destruction.

Sutherland’s artistic career included several significant changes in direction. After specializing in engraving and etching, he began achieving fame as a printmaker. His early pastoral prints display the influence of the English Romantic Samuel Palmer, whereby prefiguring Sutherland’s later involvement within the Neo-Romantic movement in Britain. However, the famous 1929 Wall Street Crash bankrupted many of his collectors, thus forcing Sutherland to turn to other sources of income. He worked as an illustrator until he visited Pembrokeshire, becoming completely captivated by it, and subsequently, turning to painting as a primary medium for his expression. The artist continued to draw inspiration from Pembrokeshire countryside and its enthralling anthropomorphic natural forms for the rest of his life.[2] When working on landscapes, Sutherland’s working method included seizing on a detail such as a dead tree, boulder, thorn bush, everything that according to the artist, required a separate existence. He would sketch this on the spot, and later a studio painting would evolve. Sutherland wasn’t the first to do so – many landscape artists before him had done pretty much the same, but his studio hand moved considerable further from what his outdoor eye had seen. Neo-romantic at the core, his work inspired others such as Paul NashJohn Craxton, and John Piper. Over time, Sutherland began to reveal himself as a vivid colorist with an original sense of harmonies. He somewhat banished the dark and heavy tones which he had used earlier, though preserving the sharp black and white oppositions and using acid pinks and mauves, orange and light blue, emerald, chrome yellow, and scarlet.

www.ftn-books.com has some nice Graham Sutherland titles available

 

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Charlotte Posenenske (1930-1985)

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The works of Charlotte Posenenske (Wiesbaden, 1930-Frankfurt am Main, 1985) consist of series in an unlimited edition. According to a number 0f rules, they can be made and repeated – also by others – and combined with each other. With her radical and ‘democratic’ ideas about material, production and authorship, Charlotte Posenenske influenced and shaped conceptual and minimalist art of the sixties.

Minimalist series

Charlotte Posenenske began as a painter, but she felt limited by the flat surface and soon moved on to creating spatial works. The forms of Series B (1967) are hung as reliefs on the wall, but also placed as objects in the spatial environment. This is followed in 1968 by Series D and Series DW, whose format and shape are reminiscent of ventilation shafts.

Participation

Although Charlotte Posenenske did not consider herself to be a political artist, she had a clear and strong vision of societal relations, which in her view had to be rational, concrete, accessible and democratic. With her work she wanted to set a standard for this: the materials which she used like cardboard and steel are cheap, the works are sold for a fixed low price and the assembly and installation of her modular systems can be done by ‘everyone’: buyers, exhibition makers, and even the public. Posenenske’s social engagement is also expressed through the installations she created in public spaces, such as airports, train stations, conference rooms and on the street.

Contemporary artists and Posenenske

Disappointed in the social scope of art, Charlotte Posenenske left the art world in 1968 to study sociology. Her work and views remain however points of reference for younger generations of artists. The text above comes from the Museum Kroller Muller site. This Museum has a retrospective exhibition on Posenenske until the 15th of September

www.ftn-books.com has some nice publications in which Posenenske made some contributins. Since there is a longtime connection between the Netherlands  and the artist it happens that some of the most important publications have been published in the Netherlands. Specially the former Art & Project has presented her works on several occasions.

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Brian Clarke (1953)

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Brian Clarke was born in Oldham, Lancashire, to Edward Ord Clarke, a coal miner, and Lilian Clarke (née Whitehead). In 1965, aged 12, he applied for a place as the last intake of an education scheme existing in the North of England to enable artistically promising children to leave their secondary school and become full-time art students, and was accepted into Oldham School of Arts and Crafts on a scholarship.[4][5] In 1968 he and his family moved to Burnley, where he attended Burnley Art School, and in 1970 he enrolled in an architectural stained glass course at the North Devon College of Art and Design, where he went on to receive a first class distinction in their Diploma in Design.

Paintings, stained glass, screenprints, mosaic and tapestry by Clarke can be found in architectural settings and private and public collections internationally, including the Tate, Victoria and Albert Museum, Seibu Museum of Art in Tokyo, and the Corning Museum of Glass, New York.[13]

Major works include the Foster and Partners-designed Pyramid of Peace and Accord in Kazakhstan, Al Faisaliyah Center in Riyadh, and Stanstead Airport; the Pfizer World Headquarters in New York; the Stamford Cone in Connecticut; windows for Linköping Cathedral in Sweden; the Papal Chapel of the Apostolic Nunciature to Great Britain; the world’s largest stage sets (for Paul McCartney’s 1993 World Tour) and both the largest stained glass work in Great Britain and the largest in the world.

Other projects include ecclesiastical commissions in churches, mosques and synagogues (including the DarmstadtHolocaust Memorial) across Europe, the USA and the Middle East; the glass exterior of ‘Le Grand Bleu’, the Hotel du Department des Bouches-du Rhone, Marseille (with Will Alsop); the Lake Sagami Country Club, Japan (with Arata Isozaki); stage sets for the Dutch National Ballet, and sets for an opera of The Crucible directed by Hugh Hudson; King Khalid International Airport in Riyadh, Saudi Arabia; Norte Shopping, Rio de Janeiro; the Spindles Shopping Mall, Oldham; the barrel-vaulted roof of Cavendish Arcade, Buxton;[22] the stained glass ceiling of Victoria Quarter, Leeds; windows for the 13th century Cistercian Abbaye de la Fille-Dieu, Romont, Switzerland; collaborations in stained glass with photographer Linda McCartney; and EP and album covers for The Human League, Paul McCartney, and EMI Classical

( the above text was copied from Wikipedia )

www.ftn-books.com has Brian Clarke titles available

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Hap Grieshaber (1909-1981)

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Hap Grieshaber is one of the great graphik artist from the 20th Century.

Personally i consider Hap Grieshaber, H.N.Werkman and Josua Reichert to be the top in graphic artists from the 20th century. Reichert is the best, but Grieshaber and Werkman are close in second spot.

Grieshaber is a typical 50’s /60’s artist. The first time i encountered his works i had a strong asscociation with the Catholic bid prints, inserted and collected in bibles by young people in the early 60’s.

But there is so much more to be discovered in his works than simple figures. The combination of abstract patterns in the background of slhouetted figures are typical Greishaber and make the composition to appear totally abstract. Willem Sandberg was a Grieshaber admirer and together they made one of the most iconic of all Sandberg / Stedelijk Museum catalogues

grieshaber cata a

This and other Grieshaber publications are available at www.ftn-books.com

Grieshaber was honoured with numerous prizes and retrospective exhibitions. He exhibited works at the documenta in 1959 and 1964. In honor of his 70th birthday in 1979, large retrospectives were shown in various museums in both parts of Germany. The last prize that Grieshaber was awarded in 1980 was the art prize of the town of Konstanz. Grieshaber died in 1981 in Eningen unter Achalm aged 72 years.