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Melle (1908-1976)

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Melle Johannes Oldeboerrigter in short MELLE, was born on 27 May 1908 in Wittenburg, a residential neighbourhood adjacent to Amsterdam’s harbour area. He was the youngest of three and the only son. His parents, who were forty-three and thirty-seven when Melle was born, had each been through a lot by then. His father, Hendericus Oldeboerrigter, was born on 31 January 1865 in the village of Nijega in Friesland. At age 12, he signed on to work on a sailing vessel and advanced from junior seaman to boatswain. Raised Catholic, he soon became a socialist and was politically active in the seamen’s league, an organization that subscribed to the ideals of the social-anarchist Ferdinand Domela Nieuwenhuis. Tnis is in short a “dry” biography, but it misses the reason why Melle has become famous in the Netherlands. Melle was the first to combine surrealistic scenes , combining genitals with fantasy figures into, considered by many, controversial paintings. Melle is important and had some followers who stillpaint in the tradition he started. I will give you only one example….Hans Kanters …on both artist http://www.ftn-books.com has some publications available.

left Melle….right Kanters

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Joan Soler (1963)

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Born in Mallorca in 1963, Soler was unknown to me until we visited the FUNDACIO PILAR i JOAN MIRO some decade ago and we encountered within this museum teh paintings by Soler. We learned that some time before they had held an exhibition to show the relation between Soler and Piet Mondrian whose works i know very well from my time at the gemeentemsueum Den Haag. I took an interest in this artis and liked the way he uses color with his absytract compositions. Both use geometric forms and lines , but the differnce there is a stronger sense of 3D.

Solor builds his paintings with layer upon layer, realizing this a way a 3D image. Fascinating to see. The catalogue in which Soler travels the road Mondrian took is available at www.ftn-books.com.

soler mondrian

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Floor van Keulen added to the FTN art collection

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It was a long time on my wish list and ia finally could fullfill this wish. Since i met Floor van Keulen at the Haags Gemeentemuseum where he painted the  “Project room” at the Haags Gemeentemuseum in 1989.

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His wall drawings are extremely large narratives. You can discover human figuren, weapons, books and landscapes all within the same wall painting/drawing. Connected with eachother by more figures and objects, resulting in an almost abstract painting, but with so many details that are realistic. His stand alone paintings are scarce. Most of the time lare/extremely large and where his small drawings are just sketches and exercises for the large wall drawings. His paintings on paper are true paintings. Where his wall drawings are most of the time removed or painted over. His large “paintings” are permanent and one of these , from 1987 , i now have added to the FTN art collection.

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The following text was found on the Piet Heen eek site and shows a different approach to his art.

Human figures and cartoons are the only motifs in the repertoire of drawings created by Floor van Keulen since 1980. They appear to be randomly spread across the surface, components of a well-balanced composition without any specific meaning. Shapes effortlessly melt into one another, debate with each other; emotions occasionally flare up, only to harmoniously merge together afterwards.

Floor van Keulen appears to shirk from the formal experiment, the abstract art experiment, in which realistic and figurative art that set the tone for hundreds of years is brushed aside as a truly relevant form. Van Keulen does not allow himself to be drawn into movements or trends within contemporary art. He has developed his own unique vision and confrontational visual language in which figurative depictions are interwoven with abstract shapes.

His art originates in his imagination and reality. He uses the ‘vocabulary’ he has put together through the years to formulate a vision of the world around him. The viewer encounters the virtuosity of the image and gets carried away in the painter’s exuberant gesture. On closer analysis of what it is exactly that affects the viewer so strongly, he or she first focuses on the pattern and motifs, attempting to decipher the artist’s story by interpreting the figurative elements. Only later does he or she discover that it is the work as a whole that is key here, the total emotion, not the details, form and contra-form. At first glance, the work appears to be expressive, but on closer inspection, clearly has a more subdued character and is carefully balanced and considered.

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Jan de Beus (1958)

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JAN DE BEUS.. for most this is not a very familiar name in art, but he works. The final result de Beus compares with an orgastic feeling. Nothing must be added. the work is finished. If you have a 30 minutes to spare you can see a work in progress and an interview with de Beus. The works by de Beus are permanently shown at Wolterinck.

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The work of Jan de Beus is typified by expressive imagery of cultural-historical pieces such as literary stories, famous pieces of music, classic mythology and the Bible. All of his paintings are characterised by crude, spontaneous gestures and some are of only one colour, or just nuances of a colour, whilst others are made up of different colours.

http://www.ftn-bookds.com has a nicer book on de beus availabljan de beus

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Avery Preesman (1968)

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Born in Willemstad Curacao, Avery Preesman was educated in the Netherlands. He entered the ATELIERS in 1992 without any pre education and because of his exceptional talent he soon received the second price in the Prix de Rome 1998 contest and in the same year the WOLVECAMPPRIJS. He became soon after a galerie artist of the famous ZENO X gallery in Antwerp and received solo exhibitions at the SMAK and Kunstlerhaus in Vienna and to end this lightning career of Preesman a solo exhibition at the Stedelijk Museum in 2001. Within a period of 9 years, Preesman had established himself as one of the leading contemporary artists in the Netherland. You can only admire such an artist. During the last 20 years , Preesman has been a regular contributor to the art and museum scene in Europe and beyond.

http://www.ftn-books.com has the 1999 NAi catalogue available. It is the catalogue which shows why Preesman has become so famous within a period of 10 years. He is a true natural.

preesman

 

 

 

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the Drawings of Roy Lichtenstein (1987)

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I like this title. It was published at the end of the EIghties which finally recognized the historical importance of Pop Art in art. before , in th early Sixties pop art exhibitions were held all over the world including many impotant ones exhibitions at the Stedelijk Museum in Amsterdam. Among them a highly important Lichtenstein exhibition, but the difference with the 1987 exhibition at the MOMA museum is that in 1967 in Amsterdam it was NEW and MODERN and in 1987 in New York is was “established” art. A difference of 20 years and now another 33 years later . The quality of the works by Roy Lichtenstein is once again underlined with this exquiste catalogue on his drawings. It shows the metaculous preparation in drawing for all larger works he would create after.

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Diego Rivera and Frida Kahlo (2)

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With a love story as colourful as their shared aesthetic, Diego Rivera and Frida Kahlo’s relationship began as a teacher-student romance. Drawn together by a common interest in communist politics, a love of painting and an utmost respect for one another’s work, the pair married in 1929. Ten years later, they divorced after it was revealed that Rivera had an affair with Kahlo’s sister, Cristina. True love never fails, though, and the dynamic duo rekindled their marriage one year later. Despite being lauded as Mexico’s greatest living artist, Rivera always viewed his wife as more talented than himself. Their relationship lasted until Kahlo’s death in 1954, an event which her partner described as the most tragic moment of his life.    several titles of both artists are available at www.ftn-books.com

 

 

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Katharina Duwe and Johannes Duwe (1)

Because of the publication KUNST IM LANDTAG: PAARE on Katharina and Johannes Duwe I was inspired to devote a series of blogs to famous artist couples. Here is the first one. Not so famous this couple, but at the time of the publication ( available at http://www.ftn-books.com) presented as an artist couple at the DER LANDTAG venue. Of these two i have a personal preference….of these two i like Katharina over Johannes, but both have their own qualities.

Johannes Duwe was born in 1956 and was primarily inspired by the 1970s. Conceptualism is often perceived as a response to Minimalism, and the dominant art movement of the 1970s, challenging the boundaries of art with its revolutionary features. The movements that ensued were all representative of a strong desire to progress and consolidate the art world, in response to the tensions of the previous 1960s. Process art branched out from Conceptualism, featuring some of its most essential aspects, but going further in creating mysterious and experimental artistic journeys, while Land Art brought creation to the outsides, initiating early philosophies of environmentalism. In Germany, Expressive figure painting was given a second chance for the first time since the decline of Abstract Expressionism almost two decades, the genre regained its distinction through the brushstrokes of Gerhard Richter, Anselm Kiefer and Georg Baselitz. The cosmopolitan and refined position that New York city held in the 1960s remained just as influential in the 1970s. With multiple international renowned artists gravitating the galleries and downtown scene, the city once again strengthened its reputation as the artistic hub of the era. Across the globe, numerous movements defined the 1970s. Amongst others, feminism and the new radical philosophies it occasioned strongly influenced the visual culture. Photorealism, which had emerged in the 1960s, also received critical and commercial success. The critical, prominent artistic pillars of New York city started to embrace painters and sculptors from Latin America.

duwe paare

 

 

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Jan Wawrzyniak (1971)

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To be homnest, …..i did not know of Jan Wawrzyniak, but because of a recent auction i searched for his name, because i was very much attracted to a black/white/grey painting by this artist. It appeared that he always uses these three colors and combines these into abstract constructivist paintings. Sometinmes vague, sometimes hard edged, but always a sense of organic too. Great art and happy to have bought this.

Wawrzyniak a

Jan Wawrzyniak lives in Berlin

Solo Exhibitions

Forms of Aporia. Kajetan Berlin

2018

Drawn by the other. Galerie m Bochum

2017

last day … of may. M6 Annette Tietenberg Braunschweig

2016

Niche. Galerie m Bochum

2015

Unfinished. Curated by Erich Franz. Kunstverein Lippstadt

2014

Broken and Lost | Drawing. Curated by Alexander Klar. Museum Wiesbaden

Continued Drawing. Galerie m Bochum

2012

​​Zeichnerische Aporien. Museum Pfalzgalerie Kaiserslautern

​​2010

New pictorial spaces. Galerie m Bochum

​​​2009

Jan Wawrzyniak. Lippische Gesellschaft für Kunst Detmold​

Gezeichnete Bilder. Kunstmuseum Ahlen

​​2008

Gezeichnete Bilder. Museum Pfalzgalerie Kaiserslautern
Zeichnerische Aporien. Curated by Carmen Schliebe. Kunstmuseum Dieselkraftwerk Cottbus

​2007

Gezeichnete Bilder. Curated by Kai Uwe Schierz. Kunsthalle Erfurt
​2006

Fragil. Galerie m Bochum

​​2002

Stille Räume. Morat-Institut für Kunst und Kulturwissenschaft Freiburg
Stille Räume. Brühler Kunstverein
​2000

Ebenen + Pfade. Kunstraum MI Posselt Bonn

​Group Exhibitions

2019

Galerie m 3. Mai 1969 – 3. Mai 2019. Galerie m Bochum

2018

Form follows Fiction. Kajetan Berlin

No More Books! Intersexualitat Textual. Curated by Vicente da Palma. Art i Pensament Contemporani L’Hospitalet Barcelona

Ansichtssache. Curated by Eveline Weber. Kunstraum Alexander Bürkle Freiburg

Kunst und Kohle: Schwarz. Curated by Friederike Wappler. Kunstsammlungen der Ruhr-Univeristät – Museum unter Tage Bochum

2017

The Flying Field. Autowerkstatt Wilhelmsaue Berlin

2015

Weltsichten. 400 Jahre Landschaft in der Kunst. Kunsthalle Rostock  ​

Land in Sicht. Weserburg | Museum für moderne Kunst Bremen

2014   ​

Blank_Space. Galerie m Bochum

Entgrenzung. Positionen zur Zeichnung. Curated by Kornelia Röder. Künstlerhaus Schloss Plüschow

Weltsichten. Het landschap verbeeld in zees eeuwen kunst. Bonnenfantenmuseum Maastricht

2013   ​

We fragment, collect and narrate. Curated by Sayoko Nakahara. Cultuurcentrum Mechelen

Noch nie gesehen. Neue Schenkungen und Ankäufe für die grafische Sammlung. Kunstmuseum Bonn

​2012

Weltsichten. Landschaft in der Kunst seit dem 17. Jahrhundert. Kunstmuseum  Dieselkraftwerk Cottbus

Weltsichten. Landschaft in der Kunst seit dem 17. Jahrhundert. Kunstsammlungen Chemnitz

Aufbruch. Malerei und realer Raum. Kunsthalle Rostock

Aufbruch. Malerei und realer Raum. Museum im Kulturspeicher Würzburg

Aufbruch. Malerei und realer Raum. Museum Pfalzgalerie Kaiserslautern​

Aufbruch. Malerei und realer Raum. Akademie der Künste Berlin​​

Junge Akademie. Akademie der Künste Berlin
​2011

Aufbruch. Malerei und realer Raum. Stiftung Situation Kunst Bochum

Saxonia Paper. Kunsthalle Leipzig
Shelter: Art Against Trafficking Women and Sexual Exploitation. Peter Freeman Inc. New York​

Shelter: Art Against Trafficking Women and Sexual Exploitation. Galerie Urs Meile Luzern​

Shelter: Art Against Trafficking Women and Sexual Exploitation. Künstlerhaus Schloss Plüschow

Weltsichten. Landschaft in der Kunst seit dem 17. Jahrhundert. Museum Wiesbaden

Weltsichten. Landschaft in der Kunst seit dem 17. Jahrhundert. Kunsthalle Kiel

​2010

Weltsichten. Landschaft in der Kunst seit dem 17. Jahrhundert. Stiftung Situation Kunst Bochum​
2009

Blattgold. Zeitgenössische Grafik. Ausstellung des Kunstfonds im Sächsischen Staatsministerium der Finanzen. Dresden
2008

Nur der Schein trügt nicht. Das Sehen als interaktiver Prozess. Stiftung Situation Kunst Bochum​

​2004

Bochum sammelt II: Landschaftsbilder. Museum Bochum
1996

Von Schlachten – vom Schlachten. Kunstsammlung der Städtischen Museen Jena

​1993

Goethe-Institut Tel Aviv

1992

Frontiera. Forum junger Kunst in Europa. Curated by Matthias Flügge. Bolzano

Public Collections

​​

Kunstmuseum Ahlen

Lindenau-Museum Altenburg

Neuer Berliner Kunstverein (nbk)

Stiftung Situation Kunst Bochum

Kunstmuseum Bonn

Sammlung zeitgenössischer Kunst der Bundesrepublik Deutschland ​

Staatliche Kunstsammlungen Dresden

Museum Pfalzgalerie Kaiserslautern

Kolumba Kunstmuseum des Erzbistums Köln

Museum Morsbroich Leverkusen

Muzeum Sztuki Lodz

Kunstsammlung des Landes Sachsen-Anhalt Magdeburg

​Westfälisches Landesmuseum Münster

Kunstsammlungen Neubrandenburg

Museum Wiesbaden

 

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Ahmad Baldin (1954)

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An example of an artist who makes decorative art. This is not the art I like, but I can imagine that some people are attracted to this kind of art. It is the same like Ton Schulten makes his art ( Ton Schulten Museum is in Ootmarsum).

Colourful and highly pleasing “abstractions of reality’ make these works accessible for many. And this accessibility is the problem for me. There is nothing to be discovered. Just some pleasing colours put together in a way the great expressionist did, does not make these paintings  great  art, but for those who admire Baudin, know that http://www.ftn-books.com has the Baldin book on his 25 years jubilee as an artist available.

baldin