The book i recently read on H.P. Bremmer shows the importance of this art consultant/artist. Not only he advised Mrs Kröller Muller , but he maintained one of the most important art networks during his life, which made it possible for him to advise mrs. Kroller Muller, the very best of art which at that time was and became available. His network made it possible to acquire works by van Gogh, Seurat, Signac, Toorop ….but also more modern artists like Matisse, Toorop and Severini. The result was one of the most stunning art collections in the world and the collection still stands out for its quality and location in Otterlo. . At random some names that made it possible for H.P. Bremmer to maintain his network untiul his death in 1956. : Hannema, Huszar, Lemmen, Israels, Modriaan, Sluijters, Redonm, Toorop, Mendes da Costa.
For those who mastered the dutch language….the very interesting book on H.P. Bremmer is now available at www.ftn-books.com
It was a few days ago that David B. published on Facebook some photographs he had taken. Without knowing where these were taken I immediately ralized that these could have been made some 50 even 120 years ago.
I refer to the Hollywood sign paintings by Ed Ruscha and the landscapes around Arles by Vincent van Gogh.
Without knowing, we have learned to look at objects, landscapes and forms like we are our own artists and these observations must have influenced us in the way we look at the world around us and take and create our own art with the many pictures we nowadays can take with camera’s and phones. It even proves that art is important for those who have an open mind towards it. Learning from the art and artists they have encountered in museums and galeries, to create their own interprations of the world around them.
Bracquemond just died start of WW I. Had he lived through these war years i am sure he would have made series on the war like Goya and Dix did, but since he never witnessed the true horrors of the “GREAT WAR” he was stuck in semi impressionist and art nouveau art. Still, such a description does not do justice to the artist that Bracquemond was. His technique is flawless and his art can be recognized immediately. Of course, he was a contemporary of Vincent van Gogh and this must be the reason the van Gogh Museum devoted an exhibition to Bracquemond in 1994. This was the 3rd exhibition in their series of 19th Century Masters. The catalogue is well worth collecting and now available at www.ftn-books.com
Wim Oepts , always reminds of the more abstract brother of Vincent van Gogh. The choice of colors even reminds of van Gogh and in many cases his landscapes are the same kind of Landscapes van Gogh preferred to paint. The days that Oepsts started to paint were the same days that van Gogh was finally recognized as being one of the great painters of all time. This meant that Oepts must have known his paintings very well and admired them. This also meant that he never followed the road into abstraction . His paintings were always colorful and the subjects recognizable. Friendly paintings for those who want an ” easy” work of art on the wall. Affordable certainly , artistically important? ….i doubt it.
Martien Coppens is a little like Vincent van Gogh. One difference…. van Gogh is a painter and Coppens is a photographer, but both have in common that they were fascinated by daily life of the people in Noord Brabant. Van Gogh found his subjects in the neighborhood of Zundert and Coppens photographed the people from DE PEEL.
Farmers, peasants, laundry women these were the people Coppens photographed.
Coppens is considered very important for the Cultural Heritage of the Netherlands since he photographed, daily life work and scenery in a time that the Netherlands grew from an agricultural into an industrial country. This is the main reasons why the Nederlands Fotomuseum acquired the photos by Coppens from his estate and decided to restore them all in 2008. The result… one of the most important dutch publications on a dutch photographer ever. This book is now available at www.ftn-books.com
Emmy Andriesse was married to another famous dutch graphic designer. Dick Elffers was her husband and together they formed a formidable and important artistic couple. Where Elffers excelled in design and typography,
Emmy Andriesse found her artistic goal in photography. Het photographs belong to the best dutch photography has produced in the 20th century. People were her main subjects, but beside her portraits and scene photographs she proved to be an excellent landscape photographer too. At one time she travelled to Arles to photograph what van Gogh must have seen in his days and these photographs belong to the best ones she ever has made.
Book available at www.ftn-books.com. Het photographs have a social element which was rare and give an extra depth to the scenes she photgraphs.
At the gallery Marianne & Pierre Nahon, Arman presented his series that he made while inspired by one of the most famous Vincent van Gogh paintings LA NUIT ETOILEE. A painting that inspired other artists too.
For instance Don McLean made his Starry Starry Night as . a tribute to this painting and the life of Vincent van Gogh.
But Arman took his inspiration not from the music but from the composition, colors and the swirl of the paint. The series is fantastic and shows the strength of Arman. He mixes his personal style with that of van Gogh. The catalogue from 1994 is now available at http://www.ftn-books.com together with many other Arman publications.
What is possibly not known to many is that they have visited one of the masterpieces by Henry van de Velde in the past. The architecture of the Museum Kroller Muller was done by van de Velde after the family Kroller Muller turned down the sketches and plans by both Mies van der Rohe and Berlage. The new building was necessary for them to present their extremely large collection of van Gogh paintings. Later this collection has become the fundament of their collection which included highlights by many other contemporary artist, but the van Gogh’s are in most cases the reason why visitors from all over the world visit this museum in the forests of Park de Hoge Veluwe.
van de Velde designed a beautiful building with spectacular views on the surrounding forests and sculpture park. Later Wim Quist designed the necessary annex building , because the collection had grown too large for the old building alone and the museum was in need of an extra exhibition space for large objects.
Beside architecture van de Velde was a multi talent who designed everything. From wall papers to kitchen were all was executed with an exquisite taste.
Yesterday it was announded and confirmed that a newly discovered van Gogh drawing from the Fentener van Vlissingen collection is an authentic van Gogh. In such a case i really wonder if the drawing is considered important because as the vanGogh museum says …it is a missing link…or is it beautiful and valuable. Valuable it certainly is now with its authentication, but beautiful? i do not think so…. it is a study and beside the depicted windmills i do not find it appealing at all. For instance compare the studies of Jongkind, his contemporary artist which all shine in these little formats. A new van Gogh discovered is nice, but the way it now is presented as one of the art discoveries of this decade is undeserved. Here is the article from the van Gogh Museum on this sketch and for really great books on Van Gogh please visit www.ftn-books.com
AMSTERDAM — The Van Gogh Museum here on Tuesday announced the discovery of a previously unknown drawing by Vincent van Gogh, which the museum said was completed about a month after the Dutch post-Impressionist artist arrived in Paris in 1886. The museum’s researchers studied the style and history of “The Hill of Montmartre with Stone Quarry,” dated March 1886, and found documents they said confirm that it is a lost van Gogh.
“It’s a big day today,” said Teio Meedendorp, a senior researcher at the Van Gogh Museum who studied the subject, style, technique, materials and provenance of the drawing, and found the relevant documentary evidence to support the attribution.
The museum owns the largest collection of van Gogh’s works anywhere in the world, including more than half of the artist’s drawn oeuvre — approximately 500 drawings as well as his sketchbooks.
“It’s a nice robust drawing by Vincent and he captured the hill of Montmartre very well,” Mr. Meedendorp said.
Mr. Meedendorp said that the drawing is particularly interesting because it is more in keeping with van Gogh’s earlier style than his later work when he lived in Paris. He added that the drawing shows that van Gogh’s work evolved during his crucial years in the French capital from a formal style that he learned at the art academy in Antwerp just before arriving in Paris, and became increasingly experimental.
“It’s a kind of stylistic missing link between his Belgium and Paris time,” said Fred Leeman, an independent van Gogh expert and curator of exhibitions by the artist, who is a consultant to the Van Vlissingen Foundation, which currently owns the drawing.
The last time a new van Gogh drawing was discovered was in 2012. A year later, a new van Gogh painting, “Sunset at Montmajour” (1888), was also found. But these findings are relatively rare. Since the publication of the complete catalog of van Gogh’s works in 1970, another nine drawings and seven paintings have been added, Mr. Meedendorp said.
When it came to the Van Gogh Museum for research in 2012, the drawing was owned by an American private collector whose Dutch relatives had purchased the work from a gallery in the Netherlands in 1917, Mr. Meedendorp explained. But the museum did not publicize the finding at the time, at the request of the previous owner.
Aside from Mr. Leeman, no other experts outside the museum have yet seen the drawing.
Research by the Van Gogh Museum in Amsterdam, the world’s leading expertise center on the artist, found that “The Hill of Montmartre with Stone Quarry” came into the hands of van Gogh’s sister-in-law, Johanna van Gogh-Bonger, a meticulous keeper of van Gogh’s materials, who numbered it “123” in her inventory.
Mr. Meedendorf said that when he took the drawing out of its frame, he found the telltale number, “123,” written on the back.
The discovery of “The Hill of Montmartre with Stone Quarry” led the Van Gogh Museum to reconsider another drawing that it had in its collection, which had been part of the original donation from the van Gogh family heirs. That drawing, titled “The Hill of Montmartre,” also completed in 1886, is drawn from a very similar perspective of the Parisian hilltop.
This drawing was originally thought to be by van Gogh, but in 2001, it was questioned because it was so dissimilar to work from his Paris period, and then discredited.
“Now that you have a set of two, it’s clear that it was a style he maintained during the first part of his time in Paris,” said Mr. Leeman.
By comparing these two drawings side-by-side, researchers realized that the works were incredibly similar, and both were attributed to van Gogh.
“It’s the same materials, the same paper, it’s quite clear that these were both done by the same hand at almost the same time,” said Mr. Meedendorp.
“One thing led to another,” he added. “If this was a van Gogh drawing then the other one had to be one as well.”
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