Perhaps it is because we are from the same generation, but i find the drawings and paintings by Paul van der Eerden highly attractive. Recently i acquired, beside the publications i already have in stock at http://www.ftn-books.com , two triptychs by Paul avnder Eerden. Both fromthe late Eighties /early nineties, one reminded me very much of the abstract US action painetrs ( this is SOld now) the other is like the best Tapies has done. devided over three frames there are 3 abstract composition froming the triptych. This one is still available.
Paul van der Eerden is collected by dutch museum adn collectors and serves to have an audience outside the Netherlands too.
It must have been some 12 years ago that i first visited Barcelona and found myself amazed and surprised by this city full of Gaudi and other modernista marvels, but the best find for me was the discovery and first visit of the Fundacio Antoni Tapies.
The building itself is already worth visiting and the inside is even more spectacular. An old facade houses a very modern museum inside which houses the works donated by Antoni and Theresa Tapies. I loved its collection and it proved to me that Tapies his art is timeless, very spanish and cosmopolitan at the same time. Tapies is possibly , next to Picasso and Dali , the most important spanish name in Modern Art. He often uses large canvasses and on them paints with “earth” colors impressive abstract compositions and uses matter in them.
In these matter paintings , the materials used are no longer simple media used to express an idea; they are the idea itself. That process produces a complete identification between material and form, between concept and language. Those works become opaque surfaces, walls on which the artist writes his graffiti and attaches the forms of objects or people. His identification with the work through his surname (in Catalan Tàpies means “walls”) expresses a more profound desire to break with Western dualism and blend with the material in a continuous formlessness.
Over the post-war years there was a general interest among artists on both sides of the Atlantic in material. Awareness of the atomic bomb and the new scientific discoveries aroused a strong curiosity in science, the new ideas about space-time and substance, while inventions such as the electronic microscope provided a new view of nature.
At the same time, Tàpies had developed an interest in Eastern philosophy, because of its emphasis on material, the identity between man and nature and its denial of the dualism of our society.
Personally i am not a great fan of Picasso. I understand his importance for Modern Art, but somehow he never appealed to me very much. One exception . In 1937 Picasso painted GUERNICA. The first time i saw this extremely large painting was in 1977 when i visited New York with my father. It was breathtaking!
So much to see in this painting. I shows the city of Guernica while it was bombarded by the Condor legion of the Luftwaffe. Pure panic and chaos on every painted part of the painting. This is a painting you must see in reality, because the sheer size is breathtaking already. It was one memory i brought home with me.
About 12 years ago the Gemeentemuseum Den Haag had the studies for Guernica in a special show and even on these much smaller studies you can see the struggle of the painter and the power of the subject.
A few years ago we went to the Reina Sofia Museum in Madrid and saw this masterpiece again. The same experience…still breathtaking.
When you look at this painting you can see that it has influenced many painters. . For one, there is a dutch painter ” Willy Boers” who borrowed the theme with the horse and made his own version of chaos and despair. The painting is called “La Quintessence” dated 1947/1948, 10 years after Guernicia was painted and is depicted in DOORBRAAK VAN DE MODERNE KUNST IN NEDERLAND. Can you spot the similarities too?
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