Crouwel, in 1963 medeoprichter van het eerste multidisciplinaire ontwerpbureau Total Design, is een van de bekendste ontwerpers van Nederland en internationaal befaamd om o.a. zijn werk voor het Van Abbemuseum, het Stedelijk Museum Amsterdam, zijn letterontwerpen waaronder het New Alphabet uit 1967 en zijn bedrijfslogo’s. Hij verwierf ook bekendheid als woordvoerder van de beroepsgroep in welke hoedanigheid hij zijn eigen uitgesproken meningen niet voor zich hield. Voor het Stedelijk Museum was hij van 1963 tot 1985 verantwoordelijk voor alle grafische uitingen van het museum.
Category: Past Artist
Met Charlotte van Pallandt behoort Piet Esser tot de belangrijkste portrettisten van de moderne Nederlandse beeldhouwkunst. Worsteling en omarming zijn de tegengestelde thema’s binnen zijn, bij vlagen, weergaloos knappe en immer consciëntieus gebouwde oeuvre dat uiterlijk gekarakteriseerd wordt door de brede toets van het oorspronkelijke model in was.
Na zijn zilveren Prix de Rome in 1938 werd hij in 1947 opvolger van professor Jan Bronner aan de Rijksakademie van Beeldende Kunsten in Amsterdam. De nestor van de Nederlandse beeldhouwkunst heeft faam verworven als beeldhouwer van enkele betekenisvolle monumenten, waaronder het monument voor de Watersnoodramp in Rotterdam, het Troelstramonument in Den Haag en het Brederomonument in Amsterdam. Bovendien excelleerde hij met dynamisch kleinplastiek en als ‘vader’ van de sculpturale penning in Nederland.
Carasso was born into a family of craftsmen. In 1922, two weeks after Benito Mussolini’s seizure of power, he fled to Paris, where he worked as a carpenter. Because of his political activism, he was deported from France in 1928, which happened to him in Brussels in 1933. He eventually took refuge in the Netherlands, which became his new homeland. He befriended Maurits Dekker, Han Wezelaar, Leo Braat, Piet Esser and Gerrit van der Veen.
Yet in 1933 Carasso still had his first exhibition in Brussels, albeit under the pseudonym Fred Deltor. In addition to drawings, photo collages, he also showed four small images. In Amsterdam he was able to develop himself as a sculptor and he was included in the circle of Amsterdam sculptors. In 1938 Carasso exhibited for the first time in the Netherlands. In 1956 he was appointed professor of sculpture at the Jan van Eyck Academy in Maastricht to succeed Oscar Jespers.
Carasso built the 46-meter-high National Monument for the Merchant Navy in Rotterdam, in memory of the 3,500 civilian casualties at sea during the Second World War. Carasso’s design consisted of a stylized aluminum ship’s bow with concrete waves. Already in 1957, before the unveiling, a lot of discussion arose and it was decided to add a bronze group of statues with the motto they kept the course. The 8-meter-high sculpture group was only completed in 1965.
Born: 12 Sep 1899, Den Haag – 15 Okt 1958, Amsterdam
Gerardus Hordijk was a Dutch graphic artist, illustrator, monumental artist (set painter), wall painter and painter. Gerard Hordijk was born as the son of the officer Hubertus Salomon Hordijk, who will become Chief Commissioner of Amsterdam in 1903. Gerard Hordijk studies architecture in Delft, but simultaneously studies at the Academy of Visual Arts in The Hague, where he is taught by Willem van Konijnenburg, among others. He successfully completed both studies. In 1927 he moved to Paris, where he moved to the complex at 26 Rue du Départ, where Mondrian also lives. In 1927 he makes a portrait of Mondrian; this oil portrait has been in the possession of the Gemeentemuseum Den Haag since 1971. In his first years in Paris, he made many oil paints, gouaches and watercolors, including circus and ballet. In 1929 Hordijk met his wife, the American Margaret Mathews. In 1935 Hordijk exchanges Paris for Amsterdam, but first makes a trip to New York with Margaret and John Gerard. The heavily pregnant Margaret gives birth to a daughter, Marian, on June 17, 1935 in New York. During this stay, Hordijk has a first solo exhibition, in the Contemporary Arts Gallery. After returning to Amsterdam, the family moves into a studio house at Zomerdijkstraat, at number 22. In Amsterdam, Hordijk has a busy life. He exhibits often and sells well and that means he has to work hard to keep his exhibits stocked. He also designs theater sets and costumes for various important plays.
His father was a police officer in Sneek. Despite his Frisian descent, Fedde de Jong has mainly worked in the west of the country. About 15 years old he left for Amsterdam where his sister lived. He worked in a hotel and continued to make a living selling calendars. As an artist he was a late bloomer. In 1947 – he was 33 years old at the time – Fedde de Jong went to the National Academy of Visual Arts in Amsterdam, the first year to evening school, then during the day. There he was a student of Heinrich Campendonk. This German expressionist painter had fled Germany from the Nazi regime in 1934 and had been professor of monumental arts at the Rijksacademie since 1935. Campendonk has been of great influence in the development of a large group of younger artists of Fedde de Jong’s generation.
After his studies Fedde de Jong went to study in Antwerp and Paris. On his return to Amsterdam he ended up in the so-called Contraprestation. The Counter-Achievement was introduced in 1949 by the Ministry of Social Affairs. In short, it meant that artists submitted work and received a financial benefit in return. Only artists who could not make a living from their art production were eligible for admission. In 1956 the name changed to Visual Artists Scheme (BKR). Although Fedde de Jong wanted to get out of the Contraprestatie as soon as possible, he was happy with this arrangement – many of his colleagues were very disappointed. Another source of income was the purchases of his work by the Municipality for the Topographical Atlas of the Amsterdam Municipal Archives, for example drawings by Ouderkerkerdijk, the Houthaven, Kostverlorenvaart, Riekerhaven. He was always looking to earn money with his work , he sought every opportunity to market his work. He went to lunchrooms of department stores in the Kalverstraat and Nieuwendijk. There he vented his work to the customers who were having coffee. Often they were specially made drawings and paintings – he himself called them “air bubbles” -. Colleagues scoffed at this, they did not consider this approach worthy of an artist.
From 1965 Fedde de Jong started selling larger work and his work was shown at exhibitions. In that year a retrospective exhibition was held in Arti on the occasion of its 50th birthday. He also exhibited abroad: in Paris, Antwerp, Spain, America and Canada. Fedde de Jong has always traveled widely in Europe. He traveled in a Citroën bus that he himself rebuilt in the company of his wife to Luxembourg, but especially to Brittany, which he called his second homeland. He made sketches of landscapes, industrial areas and especially harbors in the form of gouaches. He always had a special tent with him to dry the gouaches. On his return to his Amsterdam home, De Jong set to work making large paintings based on the gouaches. These landscapes, situated in France, often have something dramatic. The gouaches are much more cheerful. “That is, says Fedde de Jong, because I painted it outside, directly in full light. The paintings are made from sketches in my studio. ” In the gouaches a little more shape had been retained. One recognizes more clearly than with the paintings what they represent and is more lively and direct, but the gouaches often do not have the far-reaching balance of the large paintings. At the beginning of his artist career he made his own paint with egg, but because the quality of this paint was not durable, he switched to acrylic paint. De Jong was one of the moderate moderns in his day. Starting out as an impressionist, he had become more and more expressionist over the years.
The expressiveness is expressed in its clouds and landscapes, set up in rhythmic coarse brushstrokes and strongly abstracting. With his landscapes he moved on the edge of abstraction, but the recognizable was not let go. His work is highly sketchy and suggestive: “I do not paint boats, but the essence of those boats,” he said. Yet they were thinly applied to the canvas with the brush. Due to their dull appearance they look a lot like the gouaches. He showed himself to be a pedigree painter. Everything was broad and flowing on the canvas in large irregular patches of color. Greyish and bluish hues predominated , but other more warm colors such as ocher and nuances of white and black made his work lively and varied.He suffered from his leg and had to undergo surgery in 1970. In 1977 he died at the age of 62.
Many of his works are in the possession of municipalities, provinces and the State. But also large companies in the Netherlands and abroad have included work by Fedde de Jong in their collection.
Henricus Antonius van Meegeren (Deventer, October 10, 1889 – Amsterdam, December 30, 1947) was a Dutch painter and art forger. He forged works by Vermeer, among other things. Van Meegeren was born the son of a teacher. He developed skills in drawing, painting, etching and watercolors and was interested in Dutch classical painters. His father was against his work as a painter. When he caught his son, these punishment rules had to write: “I am nothing, I know nothing, I can do nothing.” Van Meegeren had chosen a difficult path. He had renounced modern art and was unlikely to gain recognition by painting in a style that had been popular centuries before. He was ridiculed by art critics and at one point could no longer even exhibit. Van Meegeren thought the local critics were false and ignorant and he wanted to prove his point by publicly humiliating them. He was a member of the Haagse Kunstkring and expressed his opinion in their magazine De Kemphaan, of which Jan Ubink was editor. When Van Meegeren was refused as chairman, despite financial support he had offered to the ailing Circle, he moved to France. In his villa in Roquebrune-Cap-Martin, where he refused every visitor, he devoted himself to perfecting the painting of old masters.
Van Meegeren, who became very familiar with the painting techniques of the Dutch masters, decided to make a fake Vermeer. It became a painting of the Emmaus in 1937. If the critics praised the work, Van Meegeren would reveal it was a forgery. In doing so, he would have shown the ignorance of the critics. In particular, Dr. Abraham Bredius was his target. He was an authority on Vermeer and was highly despised by Van Meegeren.
Eng: Henricus Antonius van Meegeren (Deventer, October 10, 1889 – Amsterdam, December 30, 1947) was a Dutch painter and art forger. He forged works by Vermeer, among other things. Van Meegeren was born the son of a teacher. He developed skills in drawing, painting, etching and watercolor painting and was interested in Dutch classical painters. His father was against his work as a painter. If he caught his son, these punishment rules had to write: “I am nothing, I know nothing, I can do nothing.” Van Meegeren had chosen a difficult path. He had renounced modern art and was unlikely to receive recognition by painting in a style that had been popular centuries before. He was ridiculed by art critics and at one point could no longer even exhibit. Van Meegeren thought the local critics were false and ignorant and he wanted to prove him right by publicly humiliating them. He was a member of the Haagse Kunstkring and expressed his opinion in their magazine De Kemphaan, of which Jan Ubink was editor. When Van Meegeren was refused as chairman, despite financial support he had offered to the ailing Circle, he moved to France. In his villa in Roquebrune-Cap-Martin, where he refused every visitor, he devoted himself to perfecting the painting of old masters.
Van Meegeren, who became very familiar with the painting techniques of the Dutch masters, decided to make a fake Vermeer. It became a painting of the Emmaus in 1937. If the critics praised the work, Van Meegeren would reveal it was a forgery. In doing so he would have shown the ignorance of the critics. In particular, Dr. Abraham Bredius was his target. He was an authority on Vermeer and was highly despised by Van Meegeren.
Albert Mol (Amsterdam, January 3, 1917 – Laren (Gelderland), March 9, 2004) was a Dutch actor, dancer, cabaret artist and writer.
From the 1930s onwards, Albert Mol performed as a dancer in Italy, Sweden, France, Switzerland and Austria. He also worked as a choreographer. He even danced briefly at the Scala in Milan, but was unable to stay there because he was shadowed by agents of the local vice squad because of his sexual orientation.
In his own country he became known in the films Het wonderful leven van Willem Parel (1955) and Fanfare (1958) by Bert Haanstra. At that time he also performed frequently in Wim Sonneveld’s ensemble. Mol gained great fame with his role as panel member of the 1970s game Wie van de Drie, which would continue to exist until the early 1980s. After Wie van de Drie he was a permanent employee of the 1-2-3 show. Later he also played in the movie Op hoop van zegen (1986).
At the end of his career, Mol guest-starred in the comedy series. Then happiness was normal and We are home again. He had a successful role in an episode of the docudrama series 30 minutes by Arjan Ederveen (1995). In 1997 Albert Mol was again a panel member for a few episodes in a remake of Wie van de Drie.
Mol has written several books. One of them, What do I see!?, Was made into a film by Paul Verhoeven in 1971. When Mol was asked if he gave permission for a musical of the same name, he responded with “Sure! It will be time!”. In 2006 the musical Wat Zien Ik ?! out, but Mol has not seen the result again.
Charlotte Dorothée baroness van Pallandt (Arnhem, September 24, 1898 – Noordwijk, July 30, 1997) was a Dutch painter and sculptor. She is considered one of the most important Dutch sculptors of the twentieth century. Already in her youth, Van Pallandt turned out to be very gifted. She preferred drawing, painting and playing the piano. However, a career as an artist was not an obvious choice for a woman. After her marriage to the diplomat Adolph count van Rechteren ended in 1923 after four years, she went her own way. Until 1928 she was active as a painter. She was friends with the painter Kees Verwey. In 1929 she started sculpting. Van Pallandt was educated in Paris, where she was taught by Charles Despiau and Charles Malfray.
In 1953 she made a statue of Queen Juliana. In 1968 she made the famous statue of Queen Wilhelmina, which – in bronze – stands in front of Noordeinde Palace in The Hague. Van Pallandt specialized in portraits and nudes. She is said to have taught the young princess Beatrix, but this is doubted by relatives of Van Pallandt.
Resistance hero Gerrit van der Veen (1902-1944) was a sculptor. He took an active part in the resistance and was one of the initiators of the moderately successful robbery on March 27, 1943 on the population register of Amsterdam. He was also the mastermind behind the counterfeiting of the identity card exchange. He was betrayed in one of his actions. Awaiting his execution in 1944, he wrote the characteristic words for him: “I have always known what I dared and should not complain, but I am sorry.”
Gerrit van der Veen lived on Zomerdijkstraat until he had to go into hiding because of his resistance work. Previously, he was a hardworking sculptor, as can be seen from the many sculptures of his hand found in the city, Amsterdam and across the country. On Curaçao, a clock features a sculpture by Van der Veen. Van der Veen started as a technical draftsman on Curaçao. However, he was able to receive a scholarship to the Academy in Amsterdam as a reward for a heroic act he performed in the port of Curaçao. At the risk of his own life, he prevented disaster on his own. Due to the war and the fatal outcome for him, his oeuvre has never been able to develop further.
Sources (https://www.zomerdijkstraatretrospectief.nl/zdr_1steR.htm, https://www.amsterdamhv.nl/wiki/gerritvdveenstraat.html)
Louise van der Veen was born as the daughter of the well-known Amsterdam neurologist Adrianus van der Chijs and Louise de Bruijn. The famous feminist Anna Maria Margaretha Storm – van der Chijs is related to Louise. Her parents wanted her to study French after high school. Louise herself preferred the National Academy of Visual Arts. There she met Gerrit van der Veen, whom she married in 1931. The couple had two daughters, Loukie and Gerda.
At the Rijksacademie Louise van der Chijs and Gerrit van der Veen had lessons from Professor Jan Bronner (1881-1972), among others. He has given new impulses and a new direction to Dutch sculpture, after the strict 19th century academicism of his predecessor, Bart van Hove. Bronner became the teacher of a large new group of sculptors at the Rijksacademie, to whom he passed on his predilection for a rational craftsmanship. French sculptors Aristide Maillol and Charles Despiau were also great examples at the time. Characteristic for their style is the reduction of the form, which leads to pure expression.
When her family expanded, Louise gave up sculpting due to time constraints. She did help her husband with, among other things, his commissions for plaques. During the war, identity cards were forged with many others to prevent people from being deported. Gerrit did not consider the effect of the false identity cards to be large enough and came up with the idea of carrying out an attack on the population register. The attack went reasonably well, the desired effect was achieved, but a little later all those involved were arrested, except Gerrit. He then tried to free some of his arrested friends from prison on the Weteringschans. In this action he is shot himself. Badly injured, he manages to escape, but is eventually found a few weeks later at his hiding place. Louise receives a suicide note from him, written on pencil smuggled in prison. This shows that he also has a relationship with Guusje Rübsaam. A large number of works in the exhibition are owned by Guusje Rübsaam and Gerrit Jan Wolffensperger. Gerrit van der Veen is shot in the dunes together with his friends. The two daughters go from hiding address to hiding address. Louise van der Veen can only visit them occasionally, because it is too dangerous. After the war Louise van der Veen was distinguished for her merits for the resistance with the resistance memorial cross. She became a board member of the Foundation Artists Resistance 1942-1945, which was established immediately after the war, and has remained that for about 40 years.
After the war, Louise van der Veen-van der Chijs, in addition to her management work for the Foundation Artists Resistance 1942-1945, mainly focused on photographing sculptors in their studio. She has also taken countless beautiful photos of sculptures scattered around the country. These photos have become a true monument to Dutch sculpture. That she chose photography she explained herself by the fact that she also drew and painted very photographically and that was why it was a logical choice.
(source: https://www.zomerdijkstraatretrospectief.nl/zdr_l_vanderveen.htm)
Jaap Wagemaker was born on January 6, 1906 in Haarlem. He is one of the most famous Dutch material painters. In 1920 he trained at the School of Architecture, Decorating Arts and Craftmanship in Haarlem. He chooses the decorative sector. He prefers to paint, but that was not taught here. A scholarship for the Rijksacademie in Amsterdam is rejected. As a painter he is therefore self-taught. In that period he paints expressionist still lifes and animals and provides for his maintenance by decorating lampshades. From 1927 he started painting landscapes near Haarlem with the Dutch artist Piet van Egmond (1889-1965). Between the years 1925 and 1940 his work was shown in various exhibitions and he participated in group exhibitions in the Frans Hals museum and the Waaggebouw in Haarlem. Wagemaker left for Paris for the first time in 1928 with Paris. In 1946 he moved to Amsterdam and moved into one of the well-known studio houses in Zomerdijkstraat. He is fascinated by the modern directions in painting and is attracted to the Cobra style (1948), but Jaap is already over 40 years old and feels too old to seek connection. He prefers to go his own way. He does have a lot of contact with Anton Rooskens (1906-1976). Wagemaker traveled to Paris again in 1952. Here he got to know the work of the material painters Jean Dubuffet (1901-1985) and Alberto Burri (1915-1995). As a result, he started to use materials such as sand, jute and wood in his paintings. Another source of inspiration was art from Africa and Oceania, from which he borrowed not only the “primitive” shapes and sober colors, but also the feeling for the magic that can be hidden in objects. Unlike many other Dutch artists who worked in an informal style in the 1950s, such as Armando (1929) and Kees van Bohemen (1928-1985), Wagemaker remained faithful to the expressiveness of matter in his later relief paintings and assemblages. In 1966 he participated in the Venice Biennale and in 1967 a major retrospective was organized in the Stedelijk Museum in Amsterdam. In 1970 his work was shown in the Cultural Center in Venlo. He was no longer allowed to experience the exhibition of his oeuvre in the Kunsthalle in Bremen.
(Source: https://www.cobra-museum.nl/artist/jaap-wagemaker/)
Henri Matthieu (Han) Wezelaar (Haarlem, November 25, 1901 – Amsterdam, July 21, 1984) was a Dutch sculptor. He is considered an important representative of modernism. From 1918 to 1922, Han Wezelaar attended the National School of Arts and Crafts, encouraged by the painter Herman Kruyder. There he was taught by Willem Retera and later on private lessons by Johan Polet. On July 27, 1923, he married classmate Margaretha Wilhelmina Visser. They left for the French Collioure where Wezelaar was inspired by the Mediterranean light. After about a year, the couple left for Paris, where Wezelaar worked for three months in 1925 in Ossip Zadkine’s studio; he was Zadkine’s first student. Wezelaar introduced Zadkine’s work in the Netherlands and soon the house of the Wezelaars in Paris became a meeting place for other Dutch artists who wanted to look across the border.
In 1929 his artistic thinking changed. He met Aristide Maillol, Charles Despiau and Adam Fischer. They were all more focused on classicist sculpture and Wezelaar stopped abruptly with his expressionist Zadkine style. In 1933 Margaret gave birth to a daughter and the following year the family returned to Amsterdam for financial reasons. With an exhibition in the Stedelijk Museum a few years earlier, Wezelaar had already demonstrated his qualities in the Netherlands and an exhibition in 1935 was a success. His French style shook the established sculptors awake; they still worked in the style of the Amsterdam school, full of socialist symbolism. Wezelaar became the foreman of the movement that wanted to separate the image from the lofty symbolism and construction sculpture.
The number of assignments increased and he was selected for the world exhibitions in Paris (1931) and Brussels (1935), for the Venice Biennale in 1936 and 1938, and for the Golden Gate International Exposition in San Francisco in 1939. In addition, he was, also in 1939, co-organizer of the first Rodin exhibition in the Netherlands.
(Source: https://nl.wikipedia.org/wiki/Han_Wezelaar)
Jan Wolkers (1925) grew up in a reformed middle-class family. In 1943 he went into hiding in Leiden and studied at the Leiden painting academy. After a period at the Academy of Visual Arts in The Hague, he studied sculpture at the Rijksacademie in Amsterdam from 1949 to 1953. In 1957, at the invitation of the French government, Wolkers joined the sculptor Zadkine in Paris for a year. In the same year he starts writing: “The terrible snowman” is his first story.
Wolkers published stories in Podium, Tirade, Hoos, De Gids, Merlyn and Podium. His first collection of short stories Serpentina’s Petticoat (1961) was received with mixed feelings. The bundle shocked both admiration and horror. His novel A rose of flesh caused just as much commotion. Titles Short American, Back to Oegstgeest and Turkish Delight appeared in quick succession. All three novels have been made into films.
(Source: https://www.debezigebij.nl/auteurs/jan-wolkers/)
Petrus Johannes Franciscus Maria Worm, Piet Worm for short, was born in Alkmaar, The Netherlands in 1909. He studied at the Kunstnijversheidsschool in Haarlem, the School voor Kunst, Techniek en Ambacht in Den Bosch and the Rijksacademie voor Beeldende Kunsten in Amsterdam. He became an illustrator and writer of children’s books, often cooperating with writer Bertus Aafjes on titles such as ‘Peter-kersen-eter’ (1943, “Dit werd gemaakt in fraaie vorm, Door Bertus Aafjes en Piet Worm”). They also made an illustrated history of The Netherlands, called ‘De Vrolijke Vaderlandse Geschiedenis’, which was published in newspaper De Volkskrant in 1948 and in book format in 1958.
Christina Maria Cornelia Wiegman (“Tia”) b. Amsterdam March 13, 1913. Lived and worked there, in France, Bergen (N.H.), Laren (N.H.); since 1964 in Amsterdam. Married 7-11-1934 in Amsterdam to PJFM Worm. Pupil of the painter family Wiegman. Watercolors, draws (also pen drawings) and made lithographs and woodcuts of botanical subjects.
Annet was the second oldest in a family of eight children. In her grandfather’s studio she discovered her greatest passion, painting, at a very young age. She followed art courses in Den Bosch and Belgium. People and nature were her greatest sources of inspiration. She also used the gifts of nature for her art. She called this “sustainable upcycling”. For years Annet Teunissen had a studio in the Wethouder van Eschstraat in Oss. She gave lessons and workshops and made hundreds of works of art at a rapid pace. In 2017 she moved to a new studio. She sold art there for a large part of 25 years last year. Annet would not have been Annet if it had not been done in a playful way. Buyers were allowed to know what they gave for a work of art, up to a maximum of 66 euros, her age at the time.She got rid of her work because she needed space for new art, not because she wanted to stop, never. Nothing hindered her in making art, not even the whiplash she suffered when she was hit by a car a long time ago during her trip to Santiago de Compostella. “I will continue to make art until it is no longer possible,” Annet Teunissen said in this newspaper last July.The end of her life took her by surprise. Works by Annet Teunissen are currently on display at K26 and in Museum Jan Cunen. Her last exhibitions live, it now appears. Two weeks ago today she cycled to the doctor with complaints. She turned out to be seriously ill. She passed away last Friday. Annet Teunissen leaves her children, grandchildren and husband behind. And a lot of art.