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Robert Capa (1913-1954)… a war photographer

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Only 41 years of age , but with an iconic oeuvre he left us.. Some examples of photographs we all have encountered for more than once in your lives. Foremost Capa was a war photographer and left us some iconic photographs. but when you study the Magmum site   (https://pro.magnumphotos.com/C.aspx?VP3=CMS3&VF=MAGO31_10_VForm&ERID=24KL535353 ) you discover that beside his war photographs there are some tremendous other photographs to be found within the Magnum archives, but that his most important subject was WAR in all its aspects and cruelties. A true journalist photographer who showed us the cruelties of war . No polished photographs but a raw image of the reality.

 

What i stumbled upon when searching for material on Capa is that he had an affair with the famous Ingrid bergman. In 1945 after the fall of Nazi Germany, Capa was staying at the Hotel Ritz on Place Vendôme where he met Hollywood actress, Ingrid Bergman. Bergman was traveling around Europe to see the devastation caused by the war, and entertaining the troops. When they met, Bergman was still married to Petter Lindström who she had a baby with. Capa asked Bergman for dinner, and soon after they started to have an affair. In 1946, Bergman asked Capa to come to Hollywood with her, and he did. While Capa was in Hollywood, he visited her at a studio where she was filming, Alfred Hitchcock’s ‘Notorious’. Capa had shot some still photos for the film which he was given no credit for when they were published Hitchcock later made a film with James Stewart and Grace Kelly in 1954, called ‘Rear Window’, loosely based on Capa and Bergman. Bergman wanted to marry Capa and also tried to convince him to quit his job to work in Hollywood. Capa knew that he wouldn’t fit in, and told Bergman that he can’t have a wife and kids because of his duties of work. Their affair ended when Capa left Hollywood for an assignment in Turkey.

There is a great Capa and Magnum publication available at www.ftn-books.com

 

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Raquel Maulwurf ….continued (1975)

I now followed her career for over 10 years and was lucky to acquire some nice small works for our collection. She still amazes with her works in black and white turning horrid events into beautiful , almost abstract works of art.  The large special project teh CARBON WAR ROOM “retrospective” at the Gemeentemuseum Den Haag ended last weekend. Online you still have a possibility to get an impression.

https://www.gemeentemuseum.nl/nl/tentoonstellingen/raquel-maulwurf-carbon-war-room

Raquel Maulwurf (Madrid, 1975) developed the installation ‘The Carbon War Room’ especially for the Gemeentemuseum. It arose from the desire to physically create the depth that is evoked in her charcoal drawings in three-dimensions. By working with a very large format and creating wall drawings that cover several walls, she previously captured the feeling of ‘walking into a drawing’. This third dimension was also added literally from the moment she began scratching the museum board she uses for her drawings with a box cutter. The installation in the museum’s Projects Gallery enables Maulwurf to take the final step.

The Carbon War room was a project specially done for the Gemeentemuseum, but can be placed everywhere in the world and consists of the objects and subjects which are very typical for her work.This is an artist who impresses and shows us a world of “beauty” and ” horror” at the same time.

Some titles on Raquel Maulwurf are available at http://www.ftn-books.com

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Raquel Maulwurf (1975)

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Raquel Maulwurf at the Livingstone gallery Photograph taken from FLAK/AAA

I first discovered Raquel Maulwurf, after she had her solo exhibition in the Stedelijk Museum Schiedam, at the Livingstone gallery in Den Haag. Large and small canvasses with charcoal drawings depicting scenes from war and destruction. ( one the book titles of her is DRAWN TO DESTRUCTION).Inspired by war (action) photographs she transforms these black and white pictures into large paintings and drawings and because of their size and intensity ( these are all executed in black and white) they impress you immediately. Now the Gemeentemuseum has made a project with her ….titled :

RAQUEL MAULWURF – THE CARBON WAR ROOM

PROJECTS GALLERY GEMEENTEMUSEUM DEN HAAG

Raquel Maulwurf (Madrid, 1975) developed the installation ‘The Carbon War Room’ especially for the Gemeentemuseum. It arose from the desire to physically create the depth that is evoked in her charcoal drawings in three-dimensions. By working with a very large format and creating wall drawings that cover several walls, she previously captured the feeling of ‘walking into a drawing’. This third dimension was also added literally from the moment she began scratching the museum board she uses for her drawings with a box cutter. The installation in the museum’s Projects Gallery enables Maulwurf to take the final step.

https://www.gemeentemuseum.nl/nl/tentoonstellingen/raquel-maulwurf-carbon-war-room

Impressive project and a must see for her admirers and for all interested in great modern art. What i do not understand is that almost the same scene is used for the invitation as the one on page 21 of her book “Drawn to destruction”.The one in the book is turned 90 degrees if compared to the one depicted on the invitation….different title /different year, but almost 100% identical …..which one is the right one?…who can help?

Because of my personal interest in her works i have some nice titles available at http://www.ftn-books.com

 

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Anselm Kiefer (1945)

It is 31 years ago that i saw a  work by Kiefer for the first time I and was really impressed . I remember the occasion….the occasion the Anselm Kiefer exhibition at the Stedelijk Museum Amsterdam. Grey, sombre , large paintings with scenes that reminded of war, devastation and ruins .  Later i learned that the German history and the Holocaust were main themes Kiefer always used in his works. The history of Germany being one of the main subjects in his extremely large paintings. The Stedelijk Museum bought one of the paintings for its collection. “Innenraum” is a large painting ( 280 x 311 cm.)  , but small compared to other Kiefer works.

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The exhibition was a great succes and since i  encountered several other Kiefers in museums. One stands out, impressive and it’s size is overwhelming. ( almost 10 meters in length) and is a must see whenever you visit the North of Spain.

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Anselm Kiefer

Only with Wind, Time, and Sound (Nur mit Wind, mit Zeit und mit Klang), 1997

Acrylic and emulsion on canvas

473 x 944 x 22 cm

Guggenheim Bilbao Museoa

 ( the following text comes from the Art Story site)

It is the Anselm Kiefer’s monumental, often confrontational canvases were groundbreaking at a time when painting was considered all but dead as a medium. The artist is most known for his subject matter dealing with German history and myth, particularly as it relates to the Holocaust. These works forced his contemporaries to deal with Germany’s past in an era when acknowledgment of Nazism was taboo. Kiefer incorporates heavy impasto and uncommon materials into his pieces, such as lead, glass shards, dried flowers, and strands of hay, many of which reference various aspects of history and myth, German and otherwise. Influenced by his contemporaries Joseph Beuys and Georg Baselitz, as well as by postwar tendencies in Abstract Expressionism and Conceptual art, Kiefer is considered part of the Neo-Expressionist movement, which diverged from Minimalism and abstraction to develop new representational and symbolic languages.

Of course there are some nice publications available at www.ftn-books.com including the Anselm Kiefer / Stedelijk Museum catalogue from 1986