Barend Blankert excels in realism with a twist. In some cases his works remind me of Teun Hocks ( tomorrows blog) , but most of the time one feels an “unease” in the scene. Wether the object/person is curled up on the floor, on the edge of a bed or crouching at a table. You feel a pity for the person in the painting. Blankert does not hesitate to refer to other painters in his paintings. There is this great example of the two boys in the Seurat painting BAIGNEURS A ASNIERES (in the National gallery collection). The two boys in the Blankert painting are exact copies of the ones in the Seurat painting, but where the painting by Seurat is crowded by others. The two boys are alone in an empty room, making the scene a sad one.
Still his works are worthwhile to look at and timeless. Barend Blankert is represented by galerie Mokum. The Blankert monograph is available at www.ftn-books.com
The first impression was Jakob Gasteiger, but certainly this is not the case….. there is much more to the work of Anita Groener. The swirls and lines look like Gasteiger but there is much more depth in her paintings. She uses small dots and lines to accentuate the lines making these much stronger than expected. Born in the Netherlands she now lives in Dublin/Ireland and making a name for herself in Ireland. Here is the info on her i found on her artist site.: http://www.anitagroener.com
Asking what it is to be human today, Anita Groener explores the substance of trauma and loss rooted in this question. She makes work for what needs language, experimenting with both figurative and abstract geographies. The artist focuses on specific current events, their archetypal and psychological resonances, tracing urgent connections between people driven from their homes through armed, economic or political conflict and her own life and family. The deliberately modest means of Groener’s installations and line drawings—twigs, cut paper, straight pins, gouache, twine—speak to the fragility of life and society that refugee crises expose. Her art implicates herself and us, asking questions about the ethics of witnessing and aesthetic response.
Anita Groener was born in The Netherlands and is based in Dublin, Ireland. In 2005, she was elected a member of Aosdána, the prestigious official association of Ireland’s preeminent cultural producers. Until 2014 she was a professor at the Dublin Institute of Technology where she was also the Head of Fine Art from 2004 to 2006.
Rooted in Pop Art and Hippie art, this symbiosis of these influences in the art of Key Hiraga created an original approach to subject and painting itself. These paintings are one of a kind and can be immediately recognized for being done by Hiraga.
As with many of the artists from the final years of the Sixties and early Seventies these works are almost forgotten, but now and then they surface again. For instance there is a dutch artist belonging to the same category…. Jakob Zekveld. Color schemes are almost the same but compositions are totally different. here is one by Zekveld.
Although i have never seen his works in agllery nor museum, i am a fan , because his works are original and filled with symbolism and never bore. the following publication on Hiraga is available at www.ftn-books.com
On the site of the Nederlands Fotomuseum, Dirk de Herder is described as the poet among dutch photographers from his age. His photographs have a dreamlike poetic quality ( see the portrait above). De Herder considered himself as a master of light. His classic black & white photographs have been popular ever since 1946, when his first book about Amsterdam was published (now a classic at photobook auctions by itself). His images of the old centre of Amsterdam and later, in the same style, Stockholm and Paris were influenced by Brassaï, with whom he corresponded, exchanged books and prints. As a photographer he was also acquinted with COBRA, whose members he regulary photographed (and published in another book). For VARA television, a Dutch broadcasting company, he photographed many celebrities for the television programguides. But his hart was always with his free work. He made many more books, ‘Never travel without a Suitcase full of Dreams’ (80 photographs, for his 80th birthday) and ‘Flashback’ (about his life), were among the last.
Floris Arntzenius is one of those painters who can be called a dutch impressionist. His touch is not as sunny as the French impressionists, but more subdued and influenced by weather and seasons in the Netherlands, making his paintings less bright and cheerfull. Still his depicting of daily life and townscapes makes his work of a rare quality. His painting can be compared with that of Jan Toorop, but where Toorop changed his style for several times during his life, Arntzenius stayed true to classic dutch impressionist scenes.
left Arntzenius / right Toorop
The Gemeentmuseum Den Haag has some very nice Arntzenius paintings in its collection and has published several catalogues over the years of which some are available at www.ftn-books.com
I just thought about Berserik, because i lay my hands on one of the most intimate publications by an artist . It is the facsimile published BLADVULLING book by Hermanus Berserik full of sketches by this artist. He painted daily life scenes and was very fond of his sailing boat, which he depicted numerous times together with other nautic themes.
You can still encounter his works at reasonable prices at auctions and his etchings can even be called CHEAP. If you do not know anything about the artist just visit:
where a Berserik exhibition was held until the 18th of January. It gives some excellent in formation. The other way to get informed i to look for publications on the artist. http://www.ftn-books.com has several Berserik titles available.
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BTW. I just learned at the MORE site that Berserik was an ex cellent photographer too.
Willem van Zoetendaal made me look more careful at the photographs by Sara Blokland. It was at the time he was invited by Hans Locher to curate the Fotokabinetten exhibitions at the Gemeentemuseum Den Haag. It was at that time that i began to realizxe and see that photography was a very interesting and highly personal search for the inner soul of the photographed. The persons depicted in the photograph were not ordinary models but their appearance reflected their inner soul. Koos Breukel was one of them and surely Sara Blokland was the other with whom i experienced this.
Sara Blokland (1969 NL) is a visual artist, independant researcher and curator of photography. She lives and works in Amsterdam. She studied at the Rietveld Academy (BA in photography) and graduated at the Sandberg Institute (MFA photography and video) in the Netherlands and a MA in Film and Photographic Studies from the Leiden University.
As a visual artist she is predominately working with photography. Her work reflects on the complicated role of this medium in relation to the histories of individuals, the concept of ‘family’ and culture heritage. Blokland’s films and photographic works have a strong focus on the portrait and landscape as part of identity and memory. Internationally her work has been exhibited in venues such as Kumho Museum (Seoul, Korea) and Gallery Lmak-projects (New York) the Stedelijk Museum Amsterdam, the Museum of Modern Art (Arnhem, Netherlands) and Gemeentemuseum The Hague (Netherlands). Her work is part of several private and public collections, such as the ABN-AMRO Collection, the Rabobank Collection, Museum of Fine Arts in Houston and Gemeentemuseum The Hague. She was also the photographer and editor of the book Van Waarde [Of Value] (2008) and the photographer of the publication The Surinam Police Band (2009).
Since 2009, she is the co-founder and co-director of UNFIXED Projects. The organization aims to create platforms for dialogue about photography, contemporary art and theory with a strong focus on cultural identity. In 2010 UNFIXED projects organized in cooperation with the Center for Contemporary Art Dordrecht in the Netherlands, the UNFIXED exhibition, artist-residency , workshop and symposium. Sara co-edited the publication: UNFIXED – photography and post colonial perspectives in contemporary art, which was co-published by Jap Sam Book in Spring 2012.
www.ftn-books.com has a very nice Sara Blokland publication available which was published by Willem van Zoetendaal.
Wout Muller , a member of the group of New Realist painters will certainly grow in importance and appreciation in the next decades to come. His technique and detailing is the best possible and his compositions are timeless. In many cases the paintings and drawings contain some erotic elements, which make their appeal certain for all decades to come.
Of course there are other realist painters who use erotic elements to enhance their paintings. Melle, Aat Veldhoen and Hans Kanters are among them, but none of them knows exactly how to create a landscape that looks more than a “dream” and has the softness needed to be an outstanding painting and not an ensemble of erotic objects. Yes, from all these painters Wout Muller is my personal favorite. www.ftn-books.com has some wout Muller titles available.
Well, this one is on the border of true art… the illustrations of Fiep Westendorp are highly original and recognizable and they even sell nowadays at art prices, but first and foremost these are great quality book illustrations ( mainly for the ones written by Annie M.G. Schmidt) . Fiep Westendorp is a well established name in the dutch illustrator scene and because many of our generation have read the novels by Annie M.G. they also know the illustrations by Westendorp. Pluk en de Pettefelte, Jip en Janneke and other could not exist without the images created by Fiep Westendorp and she is now collected not only in the Netherlands, but all over the world. Great fun illustrations which deserve a large audience. Some Westendorp titles are available at http://www.ftn-books.com
Before Wim Crouwel became the main designer for all publications published by the Stedelijk Museum Amsterdam in in the 60’s, 70’s and early Eighties (TD). There was a short 4 years that he made some beautiful publications for the van Abbemuseum Eindhoven. In these you can recognize the early Wim Crouwel. Size, use of multiple ( colored) papers, typography and layout are all typical for the early Wim Crouwel. www.ftn-books.com is fortunate to have a nice selection of these early WimCrouwel designed publications. Pictures tell a better story than words can . In this case , this certainly true. So here are some nice van Abbemuseum publications by Wim Crouwel.
Artist/ Author: Oliver Boberg
Title : Memorial
Publisher: Oliver Boberg
Measurements: Frame measures 51 x 42 cm. original C print is 35 x 25 cm.
signed by Oliver Boberg in pen and numbered 14/20 from an edition of 20