Postcard published by the Haags Gemeentemuseum ‘ THE HOUSE OF THE PAINTER “, 1986/87
Postcard published by the Haags Gemeentemuseum ‘ THE HOUSE OF THE PAINTER “, 1986/87
Ton Boelhouwer makes no paintings, but still he paints. His objects in a room can not be looked at but must be experienced by entering them and walking along the multi colored objects. This way experiencing the room in a completely different way. His “paintings” can be walked in. The book i have for sale ( by Hans Janssen ) shows this in a splendid way. It is available at www.ftn-books.com
This approach of painting was a few years ago presented at the Bonnefanten Museum and the Gemeentemuseum where he presented his paintings. The Bonnefanten made a nice introduction with Boelhouwer showing sketches
Intrigued by the catalogue i found on Carlo Battaglia, i started to look into the life of Carlo Battaglia and noticed he became friends and worked together with Robert Motherwell, Ad Reinhardt and Mark Rothko. But i noticed other aspects in his works. after seeing a large room with Battaglia paintings on photo at studio LA CITTA. I was impressed and at the same time it reminded me of Mondriaan and LeWitt
he must have been influenced by Piet Mondriaan, because just look at the similarities ….just coincidence?
left is Battaglia / right is Duinlandschap by Piet Mondriaan
On the other hand he could have been an inspirator to Sol LeWitt in later years. Battaglia is first and then comes Sol LeWitt with his Horizontal Lines.
left is Battaglia/ right Sol LeWitt
Still i like his works, This is the kind of art that inspires me and never bores.
www.ftn-books.com has publications available on all the artists mentioned
Battaglia served in the Italian Air Force from 1958–59, and in 1962 moved to Paris. In 1967, he lived in New York City, where he established friendships with Reinhardt, Motherwell and Rothko.
In 1970, 1978 and 1980, he was invited to the Venice Biennale, exhibiting his series about Maree (“Tides”) for the first time in 1970, which introduced a theme that would be prominent throughout his life. Battaglia’s most prominent exhibitions include retrospectives at Palazzo Grassi, in Venice in 1967, Palazzo dei Diamanti in Ferrara in 1976 and the Kunsthalle Düsseldorf in 1978.
He also participated in a number of group shows about Italian contemporary art held in many international venues, including the Hirshhorn Museum in Washington in 1974, the Museum Boijmans Van Beuningen in Rotterdam in 1977 and the Hayward Gallery in London in 1978. In 1978 and 1980, he participated to the 40th and the 43rd Venice Biennale. From 1980 on, he increasingly isolated himself and painted in total solitude.
There was a time that i travelled all over the Netherlands and Germany to get inspiration for the perfect museumshop. Rudi Fuchs wanted a Walter König like bookstore within the walls of the Gemeentemuseum and i personally wanted to see and experience what the best solution could be. I was impressed with the Cologne/ Museum Ludwig and we made an interpretation of that store within the Gemeentemuseum. Many ideas that are now applied to the store were developed within those days and some have even disappeared already. One of the best ideas was to make the store visible from within the museum rooms which was realized now some 14 years ago and the result i think is that it is one of the best ideas for this particular store . On one of these travels i found myself in the middle of nowhere at the Jopies Huisman museum in Workum/Friesland. It felt like i travelled to South Africa. No easy connections , but the result was a visit to a highly original museum , totally devoted to Jopie Huisman, a self taught painter . beautiful realistic works of ordinay daily life objects which he found in his direct surroundings.
Jopie gave the people honour he felt they deserved. His paintings, whether they are about people or about their belongings, are a homage to the simple Frisian rural farm life, the landscape and the culture. The portraits are monuments to simple things.
Jopie’s artwork does not only possess the recognition and acknowledgement of poverty but also a lot of humour. The humour between people who, driven by circumstance, have to rely on one another. For Jopie, humour was the grease and glue of his life. In the stories he wrote, humour is also clearly present. When you read them, you are actually reading behind the scenes of his paintings.
Jopie’s eye for the absurd, for human proportions and relationships can be found in many of his written or painted caricatures. Recognition was and is above all, a comfort to many visitors as we can see by their reactions.
Jopie was fascinated by daily life which he drank in with great gusto and, as he remarked himself, ‘threw down on canvas’. He poured his soul into his art with great doggedness, perseverance and tenacity. He understood the art of rubbing shoulders with people from all different walks of life like no other.What makes Jopie Huisman so unique is the fact that he was able to illustrate his philosophy of life with so much vigour and with so much feeling and energy. His works are a combination of philosophy, aesthetics and phenomenal art. His message of compassion is universal and timeless.
This book is now available at www.ftn-books.com
Lets keep it simple today. Pictures tell a better story in this case. Here is Hannah van Bart, a great dutch artist who’s works i encountered for the first time at the time she had her exhibition at the Gemeentemuseum den Haag (Schijngestalten/illuminations ) this book is now available at www.ftn-books.com
In september next an exhibition will open at the Marianne Boesky Gallery
Amsterdam-based artist Hannah van Bart (b. 1963) paints portraits, still lifes and landscapes. She brings together figures, interiors and exteriors as if to suggest there are no distinctions between the subjects. Figures or anthropomorphized figures appear and reappear in van Bart’s paintings, and her style is marked by distinctive outlines, repeated patterning, and layered brushwork in matte palettes. In September of 201
Jan Maaskant is a dutch sculptor who name rose in some way to fame when he was selected by Rudi Fuchs to contribute to the Documenta 7 in 1982. Influenced by Brancusi and Laurens his works to me feel more close to the Minimal Art of Sol LeWitt and Carl Andre. An excellent example of one of his Minimalistic sculptures can be found in the garden of the Gemeentemuseum Den Haag near the Schamhart pavillion / Fotomuseum.
Maaskant has a long history with the Gemeentemuseum and because Hans Locher ( former director) was an admirer like Rudi Fuchs was, a publication was initialized. Jan Maaskant received an unplanned publication. An important book, published in a small edition. The book sold badly , but is now one of the hardest to find Gemeentemuseum publications. The book is available at www.ftn-books.com
Maaskant is als beeldhouwer autodidact. Hij werd aanvankelijk beïnvloed door beeldhouwers als Henri Laurens, Constantin Brâncuşi en Julio González, maar vanuit het gesloten, compacte beeldhouwwerk ging hij naar de compositie van de open vorm, samengesteld uit zelfstandige elementen, waarbij een grote rol is weggelegd voor maat, afstand, richting en indeling.
Maaskant werd in 1982 door hoofdcurator Rudi Fuchs geselecteerd voor deelname aan documenta 7, maar viel uiteindelijk af. In 1985 werd hij docent beeldhouwen aan de Christelijke Academie voor Beeldende Kunsten in Kampen (thans de ArtEZ Art & Design Zwolle). Het werk van Maaskant is minimalistisch en wordt gerekend tot de geometrisch–abstracte kunst. In zijn werk probeert Maaskant architectuur en beeldhouwkunst te verenigen. Hij creëert zowel ruimtelijke structuren als tweedimensionale wandreliëfs, die op enige afstand voor de wand worden geplaatst om de zwaarte van de structuur terug te dringen.
Het werk van Maaskant bevindt zich in de collectie van onder andere het Museum Boijmans Van Beuningen in Rotterdam, het Gemeentemuseum Den Haag in Den Haag, het Van Abbemuseum in Eindhoven en het Kröller-Müller Museum in Otterlo.
Recently one of the driving forces in the dutch museum publications world died. I remember Cor Rosbeek as one of the most gifted of all printers in Europe. On those occasions that we met professionally he came up with practical solutions and had always in mind the quality of the finished product.
He made the impossible possible with a printing press and found solutions for the product that were thought to be impossible to realize. One of his best publications was the Diary of Anne Frank for which he made the facsimile reprint. Cor Rosbeek was a printing genius and realized many beautiful publications with the greatest of practically all (dutch) designers. His series of Rosbeek publications is known all over the world. In these publications everything comes together….great design, typography, layout, choice of papers and subject make these publications a monument for Cor Rosbeek. Some of these highly collectable publications are available at www.ftn-books.com
A few years ago one of the most recent in a long line of Pop Art and Pop Art related exhibitions was being held at the Gemeentemuseum Den Haag. But since the mid Sixties numerous exhibitions have been held on Pop Art and Pop Art related artists. There were exhibitions at the Stedelijk Museum, Museum Boymans van Beuningen, Groninger Museum, Nijmeegs Museum, Kunsthal and the Gemeentemuseum and every time they were a huge success. My guess is that because the art is recognizable and because Pop Art established itself as a true mouvement in Art History, it has become popular to the masses.
Warhol, Lichtenstein and Wesselman are now household names and their works known by many. Perhaps it has even become to successful since images by these great artists are now part of Commercial activities and publicity campaigns which is a pity since these were not meant for being used this way. www.ftn-books.com has some nice duthc Pop Art publications available.
At the beginning of Minimalism, 3 names rose to fame almost instantly. Sol LeWitt, Donald Judd and Carl Andre. All had their one man shows at the Haags Gemeentemuseum, but i noticed that the appreciation of Andre was not as high as the appreciation of his comrades. 30 years after his last show at the Gemeentemuseum things have changed for the better for Carl Andre. There was a very large retrospective exhibition travelling the US, Germany, Spain and France and the catalogue which was published with this exhibition is by far the the most complete on Andre ever.
Perhaps it is not the best, since i value myself the 1988 by Fuchs and Gracia Lebbink to be the best of all Andre catalogues, but it is a worthy addition to any Minimal Art library and still at a very affordable price. The second addition is the ART & PROJECT Bulletin 85, which is one of the rarest of all Carl Andre publications. Both are now available at www.ftn-books.com
Never heard of Yeats as a painter, until Rudi Fuchs curated an exhibition with his paintings at the Haags Gemeentemuseum and it was a nice surprise. His painting is spontane , a little childish and impressionistic at the same time and thus resulting in a painting what is typical for Yeats with a signature of its own. The exhibition was not that large and i remember that the sizes of the paintings were not that large too.
What i do remember was the excellent catalogue Gracia Lebbink designed with the exhibition. It was one of her first lareg catalogues she made for the Gemeentemuseum but it has proven to be a classic and available at www.ftn-books.com