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Picasso and Monet in the Gemeentemuseum

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About 30 years ago Rudi Fuchs became director of the Gemeentemuseum and one of the first things he notices was the limited amount of purchase power he had in building a new collection for the Gemeentemuseum. He wanted to expand the collection with some quintessential new works which showed the importance of the collection. At that time most of the dutch museum were all collecting the same dutch artists, because there were no funds to acquire works on the international market and thus build the same kind of collection in contemporary art. Fuchs developed an idea to sell 3 of the less important major works from the collection of the Gemeentemuseum.  Being 2 Picasso paintings and the early Monet /Quai du Louvre. All important , all very well known and probably priceless at auction. These highly important works would easily fetch over 50 million USD at that time and with the interest of that sum he would ten fold his budget for purchasing art. Politics thought different, because these works were not bought by the museum but bestowed to the museum.

This morning i remembered these paintings and realized that when they had been sold , they would have been lost for the Gemeentemuseum visitors, but even more important….with an interest rate of less than 1% , there would not have been sufficient funds to acquire anything important in todays art market. Conclusion for me that it is a good thing that they were not sold and can still be admired in the gorgeous Berlage building which houses the Gemeentemuseum Den Haag.

For those that are interested in the collection of the Haags Gemeentemuseum…please take a look at www.ftn-books.com

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Sonia Delaunay (1885-1979)

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Sonia Delaunay… I always thought she was french, but she lived in France because she married Robert Delaunay, but was born in Ukrainia. She became known as the cofounder of the Orphism art movement, noted for its use of strong colors and geometric shapes. Her work extends to painting, textile design and stage set design. She was the first living female artist to have a retrospective exhibition at the Louvre in 1964.

In short she was one of the first female modern artists to became known all over the world. Her patterns, tissues and paintings have been of influence to many modern artists after her, including the hard edge and kinetic artists who combined her use of colors and patterns into their own works of art. Art Deco fashion could not have existed without Delaunay tissues she had fabricated for her costumes.

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A fascinating artist who’s patterns and paintings look still very modern and one of those artists who made her publications very special by using serigraphs, lithographs and pochoir prints as a cover. Making these publications stand out from the others and turning them into very desirable collectable items. There are a few available at www.ftn-books.com

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Jean Dubuffet (1901-1985)

It was early February that we visited Paris and ended our 3 day’s in this city with a visit of the Musee des Arts Decoratifs, Situated next door to the Louvre it is much less known, but the reason to visit was the Bauhaus exhibition which was held over there.  However , it was not the Bauhaus exhibition , but de exquisite Dubuffet collection which won me over. Because www.ftn-books.com has a large inventory of Dubuffet publications ( 24 available items) i searched for this blog the internet and found a great short synopsis on this Art Brut artist.

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Jean Dubuffet disliked authority from a very early age. He left home at 17, failed to complete his art education, and wavered for many years between painting and working in his father’s wine business. He would later be a successful propagandist, gaining notoriety for his attacks on conformism and mainstream culture, which he described as “asphyxiating.” He was attracted to the art of children and the mentally ill, and did much to promote their work, collecting it and promulgating the notion of Art Brut. His early work was influenced by that of outsiders, but it was also shaped by the interests in materiality that preoccupied many post-war French artists associated with the Art Informel movement. In the early 1960s, he developed a radically new, graphic style, which he called “Hourloupe,” and would deploy it on many important public commissions, but he remains best known for the thick textured and gritty surfaces of his pictures from the 1940s and ’50s.

Key Ideas

Dubuffet was launched to success with a series of exhibitions that opposed the prevailing mood of post-war Paris and consequently sparked enormous scandal. While the public looked for a redemptive art and a restoration of old values, Dubuffet confronted them with childlike images that satirized the conventional genres of high art. And while the public looked for beauty, he gave them pictures with coarse textures and drab colors, which critics likened to dirt and excrement.
The emphasis on texture and materiality in Dubuffet’s paintings might be read as an insistence on the real. In the aftermath of the war, it represented an appeal to acknowledge humanity’s failings and begin again from the ground – literally the soil – up.
Dubuffet’s Hourloupe style developed from a chance doodle while he was on the telephone. The basis of it was a tangle of clean black lines that forms cells, which are sometimes filled with unmixed color. He believed the style evoked the manner in which objects appear in the mind. This contrast between physical and mental representation later encouraged him to use the approach to create sculpture.
http://www.lesartsdecoratifs.fr/francais/musees/musee-des-arts-decoratifs/parcours/galeries-thematiques/galerie-jean-dubuffet/