There is a long history between the art of Max Liebermann and the Netherlands, because Liebermann used to work for long periods of time in this country.
From 1874 until 1914 he stayed during the summer period in Holland and painted together with his friend Isaac Israels in Laren, Scheveningen and Noordwijk. This is the reason why so many of great Liebermann paintings can be found in this country. These were given, trade or sold to collectors and friends , building this way the largest collection of Liebermann paintings outside Germany.
It was therefore no problem for the Gemeentemuseum to organize some 40 years ago one of the first retrospektives on Liebermann ( catalogue available at www.ftn-books.com) and because it was so long ago the Gemeentemuseum organized this year another Libermann exhibition with the focus on the dutch paintings he made during the summers he stayed here.
IMPRESSIONS OF SUMMER
Max Liebermann (1847-1935) enjoyed a special bond with the Netherlands. From the end of the 19th century the German artist would visit Holland every summer. The country inspired his paintings for many years and he established a number of close friendships with artists from the Hague School. Despite these ties, Liebermann’s work is rarely exhibited in the Netherlands, so it is high time for a change!
The Gemeentemuseum is organising a major exhibition on this famous German artist:Max Liebermann – Impressions of summer. Top items from Liebermann’s oeuvre will highlight how he developed from Realist tot Impressionist. The exhibition will also consider his important role in the European art world, and his extraordinary private life.
Between 1870 and 1914 Liebermann spent a number of summers in the Netherlands with his friend Jozef Israels. Together they painted the fashionable lifestyle emerging in that period: outdoor cafés teeming with patrons enjoying the sun, riders and bathers on the beach. By that time Liebermann was a celebrated artist both in his native Germany and abroad, famous for his paintings with ‘sunspots’. In 1920 he was even appointed director of the academy in Berlin, a position he would have to relinquish towards the end of his life, when Hitler came to power. Yet he continued to be a favourite with the public in Germany, even after his death.
Despite the political and social tensions, Liebermann remained a sunny Impressionist in his work, as you will see in this exhibition. Max Liebermann – Impressions of Summer is organised with partner the Liebermann-Villa am Wannsee museum, featuring highlights like Free Hour at the Amsterdam Orphanage (1881-1882) and The Parrot Man (1902), painted at Amsterdam’s Artis zoo. Special detail: Liebermann’s Free Hour at the Amsterdam Orphanage will for the first time be leaving Frankfurt since it gained a permanent home there at the city’s Städel Museum.
1983, Just 3 years after i started my career at the Gemeentemuseum Den Haag, the museum made an exhibition with Alice Aycock. Within the Schamhart buidling the complete floor was covered with large kinetic sculptures by Aycock and at that time i could not appreciate them at all. Now 35 year later i wished i had the same knowledge at that time that i have know, because recently i leafed through the catalogue and it struck met that these works were not only great in dimensions, but even after 35 years fascinating. Where Tinguely made his kinetic sculptures in the Sixties. Aycock made them in much more modern and industrialized/high tech versions in the Eighties and after. Alice Aycock has received international fame with her sculptures.
What remains to me is a wonderful catalogue ( available at www.ftn-books.com) and the memory of meeting a great artist and beautiful woman back in 1983.
To give an impression of her more recent works here is a video on her 2010 presentation:
Yesterday morning the family of Co Westerik announced the death of this great dutch painter. His works are present in practically every large dutch museum and some admiring collectors ( the late Frits Becht ao) managed to buy more than average numbers of paintings from him and that is quite an accomplishment since his production was low…..extremely LOW. In many a year he managed to complete only as few as 3 paintings, making his work a rare work to add to a collection. It was different with his prints and drawings, because here his production was “normal”. One quality all his works have in common……it is the extreme detail and craftsmanship that make his works of high quality and stand out from the rest. At the time i worked at the Gemeentemuseum i met the artist on several occasions, but i only remember that i spoke to his representatives concerning catalogue and postcard productions. Even on these occasion he was highly (rightfully) concerned about the result. But in the end he had the publication as he had visualized it. The costs did not matter to him….the result did. ww.ftn-books.com has many titles available on Co Westerik.
This is a blog on Memphis as a design and art form. Memphis was born in 1982 in Italy in Milano and founded by ao Ettore Sottsass. They designed Postmodern furniture, fabrics, ceramics, glass, and metal objects from 1981 to 1988. and were of great influence to many designers started their careers in those days. The design ideas by Memphis spread all over the world and culminated possibly in one building ….the Groninger Museum. Memphis designs are known for us dutch by one gallery shop in Den Haag who presented all these artists and had many specials an limited editions from the Memphis group. The COPI shop in the Prinsenstraat / Den Haag does not exist any longer but ask any dutch collector interested in Memphis, they know the name for sure. Because of the blog i finally know the origin of the name and found it on Wikipedia and want to share this information with you:
On December 11, 1980, Ettore Sottsass organized a meeting with designers, and in 1981 formed a design collaborative named Memphis. The name was taken after the Bob Dylan song “Stuck Inside of Mobile with the Memphis Blues Again” which had been played repeatedly throughout the evening’s meeting. They drew inspiration from such movements as Art Deco and Pop Art, including styles such as the 1950s Kitsch and futuristic themes. available at www.ftn-books.com are the following Memphis publications.
A few days ago it was a shock for me to learn that gallery Nouvelles Images will close its doors permanently. This gallery has been a long time institution in the dutch art world and one of the galleries that gave direction to the dutch art world. Ton Berends and later on Erik Bos were visionary gallery owners that meant a lot to the young artists and because of their influence opened doors to museums and foreign galleries. Beside that they were great art dealers who presented and represented many artists for the very first time in the Netherlands and on art shows.
I visited the gallery dozens of times and i always enjoyed the spacious rooms. My personal favorites were of course Dirkx, van Hemert, Geurts and Willem Hussem who’s heirs they have represented for more than 30 years now. Nouvelles Images will not exist any more in the near future. So take a look at a great art institution in The Hague while you can. The gallery will close on the 1st of October 2018.
Sinds de oprichting in 1960 is NOUVELLES IMAGES (NI) een beeldbepalende en invloedrijke galerie in Nederland; eerst onder de visionaire leiding van initiator Ton Berends en vanaf 1989 onder de bevlogen aanpak van zijn opvolger Erik Bos.
Erik Bos is in december 2016 overleden en liet zijn nalatenschap ten goede komen aan de beeldende kunsten, in het bijzonder de fotografie via het Erik Bos Fonds, een fonds op naam van het Gemeentemuseum Den Haag. De galerie voortzetten was voor alle betrokkenen een grote wens.
Sinds vorig jaar maart werkten wij, de nieuwe directeur Marie Jeanne de Rooij en rechterhand Sander Creman, voortvarend aan de continuering van de galerie voortbouwend op de geschiedenis en reputatie van NOUVELLES IMAGES met een zichtbare focus op de gewenste vernieuwing.
Helaas is door de aanhoudend ongewisse kunstmarkt en de complexe overdracht van de galerie door de direct betrokkenen met pijn in het hart besloten de galerie met ingang van 1 oktober 2018 te sluiten.
NOUVELLES IMAGES dankt alle kunstenaars voor hun kunstenaarschap en vriendschap, en alle kunstliefhebbers die de kunst en de kunstenaars door de jaren heen met hun aankopen gesteund hebben.
NOUVELLES IMAGES organiseert van zaterdag 1 september t/m zondag9 september een laatste verkooptentoonstelling met werken uit de collectie NI waarvan de opbrengst aangewend zal worden om de galerie goed af te sluiten voor de kunstenaars van de galerie en voor de direct betrokkenen. Meer informatie over deze tentoonstelling wordt op korte termijn bekend gemaakt.
It took me 2 decades to finally appreciate Piet Warffemius his works. Personally i was not that much convinced by his early graphic works , but from the moment he depicted branches and leaves in his paintings and translated them into cortensteel “outside” sculptures, i was convinced of their quality and now we have almost 7 years now our own Warffemius sculpture ” van een naar twee” in our garden.
It is not unique, it comes from an edition of 5 copies but that does not matter. For us it was our first and until now our only outside sculpture. The most beautiful aspect is that the sculpture present itself differnntly with the change of the seasons. Cortensteel is not a evry friendly material but corrosion gives it a beautful reddisch browm patine which blends perfect with flowers and plants.
Since i have been collecting Warffemius books and found some extra ones which are now for sale at www.ftn-books
Yesterday morning there was an article in the Volkskrant about the way art in museums by colored people and minorities must be described . The reason why the dutch museums are also looking for a desirable idiom is that also in dutch history there is a part of their history which is very doubtful. The catalogue which is in the title is the example which was given in the article ( available at www.ftn-books.com ). The exhibition was in those days, (which is very recent history) announced by the journalists and museum as “primitive art by natives inspired by western civilization a way of announcement as if we in Western Europe were civilized and others not.” A complete wrong way of describing the art from these artists. On the positive side…Sandberg was the one who thought these artists deserved a museum platform in the Stedelijk Museum as early as 1957. which was the place for these artists where they could, for the first time, present and show their art , side by side with Malevich and Mondrian. I can really understand why some words and expressions can not be used any longer, however …where a museum decides to remove an object from an exhibited collection and with this action denying some of the history from a country, should not be done…. in my opinion a better way would be to keep it within the collection and add an explanation why the museum thinks different nowadays about an object . This way explaining and not judging. Let the public judge for itself if the object is still beautiful or not.
It was years ago that i bought a poetry book by Gerard Pedtrus Fieret and found 2 drawings from 1982 by him within. The drawings are rapid sketches as he now and then made for friends. These 2 sketches were done for Jopie. I do not know who Jopie is , but in both is a woman depicted so i think Jopie was a female friend of Fieret. Both these drawings are now for sale at ftn art. In the near future i will publish some “Bierviltjes”and letters i have in my collection. These drawings and letters were written to a friend of mine and are an important piece of Fieret history. But now the 2 drawings by Fieret.
This morning you could read in the Volkskrant that Erwin Olaf donated 500 of his key works to the Rijksmuseum. Why the Rijksmuseum….because the last 5 year a bond between these 2 major forces in the art world grew now resulting in the extremely generous and large gift of the 500 most important works from Erwin Olaf’s career.
At the same time as this gift was announced, it was announced that the Gemeentemuseum Den Haag and the Fotomuseum will both open an Erwin Olaf exhibition in February 2019. Please check both their sites in half a year when the details will be known for both these exhibitions. If you can not wait until February…… Check Erwin Olaf’s site and visit www.ftn-books.com for his publications.
I only met him once. It was at the time we had a meeting and discussed an exhibition at the Gemeentemuseum . We all sat down at the Library and together with all the staff involved we discussed the event. Across the room there were Jan Cremer and Babette. I remember that Babette had a clear vision of what had to be done to make the exhibition a success, but this was of course not the only time Jan Cremer and the Gemeentemuseum Den Haag had plans. There has always been a connection between Jan Cremer and Den Haag. The first is that he studied at the academy, buying his paint on the Hoefkade and exchanging his paintings for tubes of paint.
One of these paintings is for sale at FTN art and secondly because he was one of the youngest, possibly the youngest artist that belonged to the Posthoorngroep and exhibited at the location of the Posthoorn. Others like Hussem and Nanninga were more important at that time , but the young Cremer soon found his place among them . His “barbaric” art was young and new and he had a good nose for publicitiy. His 1 million Gulden painting was discussed in practically all the newspapers in the early sixties, never found a buyer, but made his name as one of the young promessing artists. Later his name would be on everybody’s lips because of the controversial book “Ik Jan Cremer” , which was an artistic and commercial success.
But never forget that Cremer is in the first place a painter, which he still proves everyday at 77. He still is the young man he once was, but with one difference …his painting has matured. www.ftn-books has some titles available on Jan Cremer.