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.
Here is an artist who’s works were very well known from the very first beginning of his career. Suprematism being one of the key collection parts of the Stedelijk Museum, El Lissitzky soon became part of this great and important collection. Because of this large collection part, an interest in his works was aroused from the very first beginning resulting in some purchases by important collectors and acquiring works by museum for their collections. Among them; Stedelijk Museum, Haags Gemeentemuseum, Boymans van Beuningen and the van Abbemuseum.
There is so much to be told about El Lissitzky as an artist because he was a true multi talented artist. A Painter, sculptor , architect and designer all within the same person. One aspect of his career i would like to mention specially. His graphic design.
El Lissitzky is the 9th person from the left
During his stay in Germany Lissitzky also developed his career as a graphic designer with some historically important works such as the books Dlia Golossa (For the Voice), a collection of poems from Vladimir Mayakovsky, and Die Kunstismen (The Artisms) together with Jean Arp. In Berlin he also met and befriended many other artists, most notably Kurt Schwitters, László Moholy-Nagy, and Theo van Doesburg. Together with Schwitters and van Doesburg, Lissitzky presented the idea of an international artistic movement under the guidelines of constructivism while also working with Kurt Schwitters on the issue Nasci (Nature) of the periodical Merz, and continuing to illustrate children’s books. The year after the publication of his first Proun series in Moscow in 1921, Schwitters introduced Lissitzky to the Hanover gallery kestnergesellschaft, where he held his first solo exhibition. The second Proun series, printed in Hanover in 1923, was a success, utilizing new printing techniques. Later on, he met Sophie Küppers, who was the widow of Paul Küppers, an art director of the kestnergesellschaft at which Lissitzky was showing, and whom he would marry in 1927.
Yesterday my wife an i visited the ‘ DE PARADE ” a cultural fair with music and performances. a great evening and great fun on the fairground and at the time we left it was still light enough to distinguish the buildings in the surroundings. We took a shortcut to the tramstop and ….there it was …. a great building used nowadays as a care home for older people. architecture by J.W.E. Buijs en J.B. Lursen from 1924, commissioned by the dutch anthroposophic society and heavily inspired by the architecture of Rudolf Steiner.
This was a great building and for me a total surprise, because i never had seen it before nor heard about it. It brought back memories and i remembered the large inventory we had during the Spiritual in Art exhibition which was organized by the Haags Gemeentemuseum together with the Los Angeles County Museum which catalogues are still available at www.ftn-books.com. The exhibition showed the importance of the iedeas of rudolf Steiner and the influence these ideas had on the art and artist of the Interbellum and shortly after.
Rudi Fuchs was the admirer and curator who convinced Donald Judd to have a large retrospective at the van Abbemuseum. Judd had his entrance into the dutch Museum scene with Enno Develing who had organized, with all important minimal art artists, exhibitions at the Gemeentemuseum Den Haag in the Sixties . Judd was one of them and since the popularity of Minimal Art in the Netherlands grew steadily. The van Abbemuseum made an exhibition with Judd in 1987, after which exhibitions another one with Judd, Fuchs and Jitta was held on the prints by Donald Judd at the Gemeentemuseum. It was one of the last exhibitions Rudi Fuchs curated for the van Abbemuseum before he switched to the Gemeentemuseum as a director and made this print exhibition. Fuchs was a great fan, because together with the print exhibition he ordered furniture, desks and even a complete parquet floor all done by Judd of which only the floor remains at the Escher Museum at the Paleis Lange Voorhout location. The rest “disappeared” , was damaged, or was sold during the last 2 decades.
The blog is to point out that this is an important catalogue which is now available at www.ftn-books.com together with some other publications. As mentioned …Enno Develing wast the first European curator who presented the Minimal Art movement and his artists at the Gemeentemuseum Den Haag. Here is the extremely important catalogue of this exhibition which i gladly make available for my readers. Click the MINIMAL ART link below and read the PDF version of this rare and very important catalogue.
If it had not been for the exhibition “SPIRITUAL IN ART ” in the Haags Gemeentemuseum, i probably would not have known Ad Reinhardt. Of course now i know him because of the Bottrop / Quadrat exhibition which was very impressive, but for most people in Europe Ad Reinhardt is far less familiar. His works are spread all over the world and can be admired in public Museums. The Stedelijk Museum only has a handful of prints which makes his works hard to find in the Netherlands. Still whenever one encounters a Reinhardt painting it always impresses me . Perhaps that is the reason why i bought some 9 years ago a beautiful Geert van Fastenhout, which is far more affordable than the steep prices Reinhardt fetch at auction nowadays , also a painting with the symbolic cross. An item which is frequently used by Reinhardt too.
left Reinhardt/ right van Fastenhout
In execution and intensity both painters are equal to each other. The difference…..van Fastenhout is known in France, Japan and the Netherlands, whereas Reinhardt is now known all over the world. www.ftn-books.com has recently added a beautiful German catalogue by the Kunsthalle Dusseldorf from 1972 , which includes an impressive original silkscreen with the depicting of the black/grey crosses.
Living in Den Haag and winner of the prestigious Ouborg price in 2001, i always have admired Vojta Dukat, original in his approach to his subject and for me one of the very best black and white photographers of his generation. Intimate portraits of people, perfect use of the light.
He makes photographs as if they were paintings. Classical, recognizable situations are transformed into brilliant photographs. Because of his connection with Den Haag, the Gemeentemuseum was fortunate to have the show on the occasion of the Ouborgprijs and this is where i first encountered his photographs. Since i have been following his career. The book published on the occasion of the Ouborgprijs is a true classic and www.ftn-books.com is fortunate to have this for sale. I found a small youtube item on the book which gives a great impression of it.
Without realizing i have collected a beautiful small collection with works by Arie van Geest. Born in Maasland he stayed in the region and had several studios in Rotterdam. The friendship with Pat Andrea shows in his early works which were a little surreal, but in the mid eighties he changed in the approach of his painting. His works became abstract with realistic elements and that is the time i met Arie and bought my first drawing. Together with Mariette Josephus Jitta, as the curator in charge, he made the Tableau Mourant exhibition in which 98 watercolors were shown. This series was later bought by the van Gogh Museum. For the exhibition in the Gemeentemuseum 2 editions were made. One “ordinary edition” designed by Paul Stoute and the other a linnen bound one, with a drawing/watercolor by van Geest.
The style changed dramatically and personally i prefer this “new” Arie van Geest above his more realistic style. He stayed loyal to this new found abstract style for almost 20 years and changed again to a more a realistic way of painting in 2002. All three periods are important, but when you look at the museums that bought Arie van Geest ( Gemeentemuseum, Stedelijk Museum, Boymans van Beuningen ) , They all made their acquisitions in the abstract period, except for the Athens Museum which made purchases from his most recent period. Arie van Geest was represented by Delta Gallery. He now has frequent shows with Livingstone gallery. I have decided to sell part of my Arie van Geest works, so please have a look at FTN art and for the book related material visit www.ftn-books.com
Yes, it took a period of over 50 years for Peeters to become the household name in Zero art as he is now. Shortly before his death in 2013 there was a retrospective exhibition at the Gemeentemuseum Den Haag. At that occasion the famous Nul/Zero catalogue from 1963 was published as a facsimile. The original catlogue is an extremely hard find these days and when you encounte a copy. The condition in most of the cases is not what you had hoped for. At one time www.ftn-books.com had the the original, the facsimile and the multiple signed Peeters edition available, but that was a long time ago. All sold out at record prices, but now i am lucky to have bought the best copy i have ever owned. The condition is MINT_ and it is now available at www.ftn-books.com.
Here are the images of the originalNul/Zero book now available condition is MINT-
and these are my pictures from the multiple by Peeters published on the occasion of his Retrospektive:
For those interested in Peeters history read here the text the Gemeentemuseum published at the occasion of the Henk Peeters Retrospective:
10 September 2011 till 12 February 2012
‘The world is going to change radically.’ Henk Peeters (b. The Hague, 1925) said so more than once. The statement was an expression of his deep desire for a Communist society. It was not to be, but Peeters remained an idealist. Together with Armando and Jan Schoonhoven, he founded the Nul group – the Dutch arm of the international ZERO movement (including artists like Piero Manzoni en Lucio Fontana), with which he maintained close contacts. Their art was all about eliminating the artist’s personal style and elevating everyday life to art through the use of ordinary materials. Peeters used cotton wool, feather and hair in his artworks and even ‘drew’ and ‘painted’ with smoke and fire. This autumn, the Gemeentemuseum’s Willem Cordia Room welcomes the first ever one-man show of Henk Peeters’ work from the 1960s. A major installation involving bags of water will be recreated especially for the occasion. It was originally on show at the successful international ZERO-0-NUL exhibition held at the Gemeentemuseum in 1964.
Peeters was a spider in the web of the international ZERO movement of the 1960s and it was thanks to his efforts that the big Zero/Nul exhibition was held in the Netherlands (partly at the Gemeentemuseum in the The Hague, the city where the Nul group enjoyed its heyday). He disseminated and published Nul and ZERO manifestos and even today is an important source of information for researchers and writers concerned with the history of ZERO and Nul.
Peeters elevates everyday life to art; he believes in the synthesis between the two and wants to make art accessible to everyone. This was also the ideal of the Nul movement; Armando used ordinary gloss paint and Schoonhoven cheap extra-thick wall paint as part of the effort to undermine the elevated status of the artwork. Peeters also used materials that needed no personal handling; he used cotton wool, feathers, hair, smoke and fire to create works that may not exhibit the personality of the artist in the handling of their materials, but are nevertheless capable of conveying great sensitivity through their texture and relief.
A deep-rooted democratic principle underlies Peeters’ art, choice of materials and personal philosophy. The socialist ideals inculcated in him during his childhood are a major motivation for all his activities – of which there have been many. In addition to being an artist, Peeters has also been at various times a museum education officer, an art school teacher, a typographer, a creative arts therapist, a curator, an organizer, an activist, a television-maker and an advisor to public institutions.
The exhibition is realized in close cooperation with the ZERO foundation, Düsseldorf.
To mark the occasion of the forthcoming exhibition, the catalogue of the Haags Gemeentemuseum’s 1964 exhibition Zero (Mack/Piene/Uecker) – Nul (Schoonhoven/Armando/Henk Peeters) is to be republished as multiple.
Just a screenshot from my computer when i searched for some information on Paul Schuitema and instantly you see the importance of Schuitema for dutch design.
Here it is the ultimate combination between a spectacular lay out, great typography and photo montage resulting in a highly recognizable style….this is Paul Schuitema. Schuitema a contemporary of Piet Zwart, was not as well known as Piet Zwart , but both did their ground breaking work in the Interbellum and can be considered as extremely important for graphic design. Schuitema differs from Piet Zwart.
Where Piet Zwart excels in Typography and lay-out, the photo montage is the part in which Schuitema excels. Both are important, not only because they are essential in the development of dutch design, but more and more they are recognized as being important for graphic design all over the world in general and their influence can be found everywhere. This imporance is underlined by orderes on these 2 artists from all over the world.
The Gemeentemuseum has both artists in its collection and because of the former curator Flip Bool , these collections are possibly the most important in the world.
When you come to the Netherland check the exhibitions at the Gemeentemuseum Den Haag, maybe you are lucky and there is a special exhibition on one of them. If not know that www.ftn-books.com has some nice books available on both these graphic designers.
One of my first blogs was devoted to the museum Belvedere where i encountered some wonderful paintings by Gerrit Benner. This blog is solely devoted to Benner because he deserves it. His paintings are among the first abstract paintings which still hold a link with realism in the Netherlands . These paintings are definitely inspired by nature. Skies, meadows and even an abstract cow can be determined in the compositions. Benner is a painter “pur sang” who’s works are rooted in the dutch tradition of abstract paintings. For instance Mondrian used these abstracted landscapes in his own painting from the early 20th century.
on the left a painting by Benner with Red cloud on the right Landscape with Red cloud by Piet Mondriaan
Benner is a great painter who deserves to be known outside the Netherlands and for those visiting the Netherlands. When you visit the Stedelijk, Gemeentemuseum, Belvedere and Museum Twente you surely will encounter a Benner painting in their permanent collections.