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Allen Ruppersberg (1944)

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Allen Ruppersberg and the Netherlands is a combination which feels natural. It is a little bit the same like with Lawrence Weiner. Both were supported by Willem Sandberg and had their first major exhibitions outside the US in the Stedelijk Museum and after?……they kept a strong link with the Netherlands since both were represented by the Art & Project gallery who published with both important Bulletins within their series of Bulletins. Both these artists are considered by many as the next worldwide greatest, since Conceptual Art is becoming more and more important in time and admiration for these two is growing significantly.

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I like both , but perhaps i more have a weakness for Weiner since his work at the Gemeentemuseum was present all the time i was working there and it never stopped impressing me. But Ruppersberg….. certainly a close second and perhaps in the long run i will like him even more. www.ftn-books.com has soem of the mentioned Ruppersberg items still available.

 

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The greatest men and women in dutch graphic design.

I have had the pleasure to suggest this site in earlier blogs, but it still expands and contains the very best of dutch graphic designers over the last 50 years or so. Of course i have books available by all these gifted dutch designers and i can not recommend enough to visit their excellent site at: https://www.dutchgraphicroots.nl

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13 sculptors from Paris…cat no 50

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Published within the Stedelijk Museum series with no. 50, designed by Willem Sandberg and with the “creme de la creme” of sculptors from France / Paris, this has arguably become one of the most important exhibitions and catalogues for the Stedelijk Museum from the Fifties. Within the catalogue you will encounter only the most famous of names. Here they are: Brancusi, Gonzales, Gargallo, Laurens, Arp, Chauvin, Zadkine, Lipchitz, Giacometti, Richier, Couturier and Auricoste. Another important aspect to this exhibition is the catalogue. It uses multiple kinds of brown and glossy papers, making this one of the first for a series of catalogues which were designed by Willem Sandberg in such a way for the Stedelijk Museum. This design was typical for Sandberg in the Fifties and he continued to use these papers throughout his career as a designer. Wim Crouwel broke with this tradition and presented a much cleaner, more contemporary design, but i admire these Sandberg catalogues and this is probably one of the very best and most important.

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New Business Card FTN books & Art

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Some recent changes made it necessary to translate these changes into a new business card. The most important one being two new email addresses. One personal one and the other for the FTN books & Art contacts. So here is all the new business information to contact me and keep track of my activities, the daily blog and additions to my inventory.

Wilfried van den Elshout / FTN books

Veursestraatweg 106c

2265CG Leidschendam,  the Netherlands

www.ftn-books.com

www.ftn-blog.com

new email : wilfriedvandenelshout@gmail.com

new email : ftnbooksandart@gmail.com

 

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Two different Malevitch titles

On a recent book market visit i found 2 totally different publications on the same artist. Malevich being the subject it occurred to me that there was a great difference between both publications. One rather modern with the emphasize on his early works proved that the interest in his early works was not there from the early beginning. The other being earlier…. a Louisiana / Denmark Museum publication from 1959. Shows the influence of Willem Sandberg in its catalogue design and its approach is totally different. Only a few early works are depicted and the focus is on his Suprematist works, which were being discovered as highly important in those days. The ultimate “BLACK SQUARE” being the final result of his search in constructivist painting.

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These and other great Malevitch publications are available at www.ftn-books.com

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Willem Sandberg a 1961 publication

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Willem Sandberg has designed many publication for the Stedelijk Museum. Starting as early as 1939 until in the early 60’s he finished designing publications for the Stedelijk and Wim Crouwel took over this task. In those 25 years he rarely made a large sized publication. This book is the exception. In collaboration with Meulenhoff publishers the Stedelijk Museum published its highlights and asked Sandberg to be the designer. A Large sized book of 12.1 x 10.6 inches  containing over 200 pages, linnen bound with dustcover. Sandberg took the typical elements ( use of multiple sorts of paper) of his Stedelijk designs and incorporated these in his own way into this much larger publication. The extra size makes the art even more impressive.

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This book is now for sale at http://www.ftn-books.com and has been included in the ever expanding inventory of Stedelijk Museum catalogues. I know that sometimes these emerge and come to the market, but i rarely have seen one at a reasonable price. This one, includes the dustcover, which is almost every time missing ans it is now for sale. A Willem Sandberg masterpiece which has been under valued for far too long.

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the brilliant “Jong Amerika Schildert” catalogue from 1958

The year is 1958, …the curator Willem Sandberg. The exhibition JONG AMERIKA SCHILDERT, organized by the Stedelijk Museum together with the Museum Of Modern Art,

This is arguably Sandberg his most important exhibition, because this was for the years to come the foundation under all Stedelijk Museum Exhibitions. The artists list now reads like an all time greatest list with many of them record breaking artists. Not only in auction results, but certainly with the total number of exhibition visitors. Just some of the now very famous names who were not that well known in those days. Pollock, Newman, Rothko, de Kooning and Kline are now among the most appreciated artists ever and all were in this one exhibition. Willem Sandberg wrote history with this exhibition and what makes the catalogue even more worth wile is not only the typical Sandberg design but the special art  by Pollock and Gottlieb which is used for the cover. This catalogue is available at www.ftn-books.com

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Graham Sutherland (1903-1980)

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When i looked for information on Sutherland I found this excellent article on the WIDEWALLS site.

One of the leading British artists of the 20th century, Graham Sutherland was widely known for his prints and paintings. Despite some other names coming to mind before him when talking about the art history, such as David HockneyFrancis Bacon, or Lucian Freud, there was a time when Sutherland ruled undisputed. From mid-1930’s, when he established his identity as a modern painter, to the 1950s, when his influence began to wane, there was a widespread consensus amongst fellow artists and critics that Sutherland was the most exciting and compelling voice in contemporary British painting.[1] He was even commissioned to paint a portrait of Winston Churchill, in what turned out to be one of the most famous cases of the subject disliking the artwork, which eventually led to its destruction.

Sutherland’s artistic career included several significant changes in direction. After specializing in engraving and etching, he began achieving fame as a printmaker. His early pastoral prints display the influence of the English Romantic Samuel Palmer, whereby prefiguring Sutherland’s later involvement within the Neo-Romantic movement in Britain. However, the famous 1929 Wall Street Crash bankrupted many of his collectors, thus forcing Sutherland to turn to other sources of income. He worked as an illustrator until he visited Pembrokeshire, becoming completely captivated by it, and subsequently, turning to painting as a primary medium for his expression. The artist continued to draw inspiration from Pembrokeshire countryside and its enthralling anthropomorphic natural forms for the rest of his life.[2] When working on landscapes, Sutherland’s working method included seizing on a detail such as a dead tree, boulder, thorn bush, everything that according to the artist, required a separate existence. He would sketch this on the spot, and later a studio painting would evolve. Sutherland wasn’t the first to do so – many landscape artists before him had done pretty much the same, but his studio hand moved considerable further from what his outdoor eye had seen. Neo-romantic at the core, his work inspired others such as Paul NashJohn Craxton, and John Piper. Over time, Sutherland began to reveal himself as a vivid colorist with an original sense of harmonies. He somewhat banished the dark and heavy tones which he had used earlier, though preserving the sharp black and white oppositions and using acid pinks and mauves, orange and light blue, emerald, chrome yellow, and scarlet.

http://www.ftn-books.com has some nice Graham Sutherland titles available

 

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Stuart Davis(1894-1964)

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Not many Europeans are familiar with the works by Stuart Davis. Davis is for the Americans the equivalent of what matisse is for the Europeans. Of course Matisse is far more known than Davis ever will become, but study his works closely and you can similarities between the appraoch of the composition and the elements within the composition. Sandberg was an admirer so was Gielijn Escher

left Davis/ right Gielijn Escher

 

Rudi Fuchs wrote an excellent text on Stuart Davis in the Stedelijk Museum Bulletin from 1998 . The publication is available at www.ftn-books.com. It explains why Davis works are lesser known , but for me the conclusion was …please give me more. These works are fascinating and a joy to look at.

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The article below comes from Wikipedia:

Stuart Davis, (born December 7, 1894, PhiladelphiaPennsylvania, U.S.—died June 24, 1964, New York, New York), American abstract artist whose idiosyncratic Cubist paintings of urban landscapes presaged the use of commercial art and advertising by Pop artists of the 1960s.

Davis grew up in an artistic environment. His father was a graphic artist and art editor of a Philadelphia newspaper, where he worked with William J. Glackens, George Luks, John Sloan, and Everett Shinn, all later famous as members of the Ashcan school of American painting. His parents encouraged his interest in art, and at age 16 he quit high school to study painting in New York City under Robert Henri, leader of the group known as The Eight (later absorbed into the Ashcan school), whose teaching emphasized the importance of taking subject matter from urban life.

By 1913 Davis was competent enough to show five watercolours in the Armory Show. This was the first large exhibit in the United States of avant-garde European art, and the event marked a turning point in his career. Over the next few years he strove to achieve the compositional order, nonimitative colour, and shallow picture space characteristic of the new European painting. He began to experiment with collage (a recently invented technique of making compositions from bits of paper and objects glued to a surface) and sometimes varied the usual process by making paintings of his collages, as in Lucky Strike (1921), finally arriving at a completely nonillusionistic style, which culminated in his Egg Beater series of 1927–30.

In 1928 Davis traveled to France, where he spent a year painting relatively realistic street scenes in Paris. Back in the United States during the Great Depression of the 1930s, he developed a new style based on the rhythmic contrast between geometric areas of flat colour and objects clearly defined in linear perspective. During these years, Davis was an outspoken opponent of fascism and, in 1938, became the national chairman of the American Artists’ Congress.

After the mid-1940s, Davis produced many of his most important works, such as The Mellow Pad(1945–51) and Little Giant Still Life (1950). These meticulously planned and executed paintings possess a wit and gaiety in contrast to Abstract Expressionism, the then-dominant style of art. Davis was inspired by taxis, storefronts, and neon signs. The dissonant colours and lively, repetitive rhythms in his work can be seen as visual analogs to jazz music, which he loved.

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Hap Grieshaber (1909-1981)

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Hap Grieshaber is one of the great graphik artist from the 20th Century.

Personally i consider Hap Grieshaber, H.N.Werkman and Josua Reichert to be the top in graphic artists from the 20th century. Reichert is the best, but Grieshaber and Werkman are close in second spot.

Grieshaber is a typical 50’s /60’s artist. The first time i encountered his works i had a strong asscociation with the Catholic bid prints, inserted and collected in bibles by young people in the early 60’s.

But there is so much more to be discovered in his works than simple figures. The combination of abstract patterns in the background of slhouetted figures are typical Greishaber and make the composition to appear totally abstract. Willem Sandberg was a Grieshaber admirer and together they made one of the most iconic of all Sandberg / Stedelijk Museum catalogues

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This and other Grieshaber publications are available at www.ftn-books.com

Grieshaber was honoured with numerous prizes and retrospective exhibitions. He exhibited works at the documenta in 1959 and 1964. In honor of his 70th birthday in 1979, large retrospectives were shown in various museums in both parts of Germany. The last prize that Grieshaber was awarded in 1980 was the art prize of the town of Konstanz. Grieshaber died in 1981 in Eningen unter Achalm aged 72 years.