FOK!fotoboek Reacties

Reactie van C.L.Werner

Wed, 26 Jun 2019 09:38:14 +0200

Interessant

Reactie van Mister_Monkeyman

Mon, 13 Aug 2007 13:02:03 +0200

WOLLA WOLLA LURKSTER

Reactie van trickery

Wed, 31 Jan 2007 07:48:47 +0100

hela, ik was hans hunsche aan het google-en en toen vond ik jou haha. jij was blijkbaar ook naar hem op zoek. heb je m gevonden? ik ben benieuwd hoe t met m is, ik ken m van vroeger. mijn email is acrobatia@yahoo.com mail me maar als je wilt :)

Reactie van trickery

Wed, 31 Jan 2007 07:48:41 +0100

Reactie van Godshand

Mon, 06 Nov 2006 18:39:01 +0100

wtf, waarom die lappen tekst opeens haha.. je kan beter een wiki maken dan

Reactie van I_are_Rudeboy

Tue, 28 Mar 2006 10:20:47 +0200

Leuk om te weten

Reactie van Nastybtch

Thu, 23 Mar 2006 08:02:57 +0100

Biography:

(b Amsterdam, 25 April 1921). Dutch painter, sculptor, designer, printmaker and writer. He was first encouraged to paint by an uncle, who gave him a set of paints for his 15th birthday, and he also took painting lessons. From 1940 to 1943 he studied at the Rijksakademie of Amsterdam, where he became friendly with Corneille. His earliest works recalled the painting of George Hendrik Breitner; during World War II, however, he began to paint with a more vigorous palette, with a clear interest in German Expressionism and above all in the work of van Gogh. There was a turning-point in Appel’s style c. 1945 when he found inspiration in the art of the Ecole de Paris and in particular of Matisse and Picasso. This influence remained visible in his work until 1948, for example in a series of plaster sculptures that he made at this time. From 1947, his completely personal, brightly coloured universe of simple, childlike beings and friendly animals populated gouaches, oil pastel drawings, painted wood sculptures and, gradually, oil paintings. His sense of humour comes to the fore in grotesque assembled pieces and wooden reliefs and paintings such as Hip, Hip, Hooray (1949; London, Tate).

Biography:

(b Amsterdam, 25 April 1921). Dutch painter, sculptor, designer, printmaker and writer. He was first encouraged to paint by an uncle, who gave him a set of paints for his 15th birthday, and he also took painting lessons. From 1940 to 1943 he studied at the Rijksakademie of Amsterdam, where he became friendly with Corneille. His earliest works recalled the painting of George Hendrik Breitner; during World War II, however, he began to paint with a more vigorous palette, with a clear interest in German Expressionism and above all in the work of van Gogh. There was a turning-point in Appel’s style c. 1945 when he found inspiration in the art of the Ecole de Paris and in particular of Matisse and Picasso. This influence remained visible in his work until 1948, for example in a series of plaster sculptures that he made at this time. From 1947, his completely personal, brightly coloured universe of simple, childlike beings and friendly animals populated gouaches, oil pastel drawings, painted wood sculptures and, gradually, oil paintings. His sense of humour comes to the fore in grotesque assembled pieces and wooden reliefs and paintings such as Hip, Hip, Hooray (1949; London, Tate).

Biography:

(b Amsterdam, 25 April 1921). Dutch painter, sculptor, designer, printmaker and writer. He was first encouraged to paint by an uncle, who gave him a set of paints for his 15th birthday, and he also took painting lessons. From 1940 to 1943 he studied at the Rijksakademie of Amsterdam, where he became friendly with Corneille. His earliest works recalled the painting of George Hendrik Breitner; during World War II, however, he began to paint with a more vigorous palette, with a clear interest in German Expressionism and above all in the work of van Gogh. There was a turning-point in Appel’s style c. 1945 when he found inspiration in the art of the Ecole de Paris and in particular of Matisse and Picasso. This influence remained visible in his work until 1948, for example in a series of plaster sculptures that he made at this time. From 1947, his completely personal, brightly coloured universe of simple, childlike beings and friendly animals populated gouaches, oil pastel drawings, painted wood sculptures and, gradually, oil paintings. His sense of humour comes to the fore in grotesque assembled pieces and wooden reliefs and paintings such as Hip, Hip, Hooray (1949; London, Tate).

Reactie van Nastybtch

Thu, 23 Mar 2006 08:02:01 +0100

The Greek Myth: Queen Pasipha�
Trouble began on the island of Crete when King Minos refused to sacrifice a handsome white bull to the sea god Poseidon. To punish Minos, Poseidon cursed Pasipha�, Minos' beautiful wife, with a passion for the bull. Driven mad with desire, Pasipha� mated with the bull and gave birth to the half-bull, half-human creature known as the Minotaur.

Rendezvous in Nice
In 1940, the French author Henry de Montherlant posed for a portrait by Matisse and used the sessions to propose a collaboration. Matisse admired de Montherlant's dramatic new version of the Pasipha� myth and chose this story for the project.

"...Swept up all the way to the stars..."
For each scene, Matisse selected a favorite phrase from de Montherlant's Pasipha� and interpreted it in several different ways. True to his style, the images respond not to the tale's tragedy but to universal themes of passion, feminine beauty and love. For the 1944 publication, only one image per scene was printed and the alternate linoleum blocks were stored for a separate edition Matisse hoped to publish later.

A wish fulfilled
It was left to the Matisse Estate to publish the remaining linoleum blocks in a limited edition of 100. Following Matisse's wishes, they used the ink and paper from the 1944 edition and also authenticated each image with the estate stamp "HM." The 1981 edition features new versions of Matisse's most beautiful and famous images, including the Embrace.

The Technique: Linocut
Matisse favored linoleum engraving because it captured the subtle movements of his hand. He began with a thick block of linoleum and used a knife or gouge to carve the soft surface. Ink was then applied to the uncarved sections before being pressed to paper. In the Pasipha� linocuts, the black ink creates a timeless setting for the emotions captured by the simple white lines.

Reactie van Nastybtch

Thu, 23 Mar 2006 08:00:38 +0100

Gogh, Vincent (Willem) van (b. March 30, 1853, Zundert, Neth.--d. July 29, 1890, Auvers-sur-Oise, near Paris), generally considered the greatest Dutch painter and draughtsman after Rembrandt. With C�zanne and Gauguin the greatest of Post-Impressionist artists. He powerfully influenced the current of Expressionism in modern art. His work, all of it produced during a period of only 10 years, hauntingly conveys through its striking colour, coarse brushwork, and contoured forms the anguish of a mental illness that eventually resulted in suicide. Among his masterpieces are numerous self-portraits and the well-known The Starry Night (1889).

Self-Portraits
Portraits
Irises
Still-Lives with Sunflowers
Views from the Asylum
Works after Millet
Vineyards
Fields and Cypresses
Other Landscapes
His uncle was a partner in the international firm of picture dealers Goupil and Co. and in 1869 van Gogh went to work in the branch at The Hague. In 1873 he was sent to the London branch and fell unsuccessfully in love with the daughter of the landlady. This was the first of several disastrous attempts to find happiness with a woman, and his unrequited passion affected him so badly that he was dismissed from his job. He returned to England in 1876 as an unpaid assistant at a school, and his experience of urban squalor awakened a religious zeal and a longing to serve his fellow men. His father was a Protestant pastor, and van Gogh first trained for the ministry, but he abandoned his studies in 1878 and went to work as a lay preacher among the impoverished miners of the grim Borinage district in Belgium. In his zeal he gave away his own worldly goods to the poor and was dismissed for his literal interpretation of Christ's teaching. He remained in the Borinage, suffering acute poverty and a spiritual crisis, until 1880, when he found that art was his vocation and the means by which he could bring consolation to humanity. From this time he worked at his new `mission' with single-minded frenzy, and although he often suffered from extreme poverty and undernourishment, his output in the ten remaining years of his life was prodigious: about 800 paintings and a similar number of drawings.

The Potato Eaters
1885 (180 Kb); Oil on canvas, 81.5 x 114.5 cm; Rijksmuseum Vincent van Gogh, Amsterdam

From 1881 to 1885 van Gogh lived in the Netherlands, sometimes in lodgings, supported by his devoted brother Theo, who regularly sent him money from his own small salary. In keeping with his humanitarian outlook he painted peasants and workers, the most famous picture from this period being The Potato Eaters (Van Gogh Museum, Amsterdam; 1885). Of this he wrote to Theo: `I have tried to emphasize that those people, eating their potatoes in the lamp-light have dug the earth with those very hands they put in the dish, and so it speaks of manual labour, and how they have honestly earned their food'. In 1885 van Gogh moved to Antwerp on the advice of Antoine Mauve (a cousin by marriage), and studied for some months at the Academy there. Academic instruction had little to offer such an individualist, however, and in February 1886 he moved to Paris, where he met Pissarro, Degas, Gauguin, Seurat, and Toulouse-Lautrec. At this time his painting underwent a violent metamorphosis under the combined influence of Impressionism and Japanese woodcuts, losing its moralistic flavour of social realism. Van Gogh became obsessed by the symbolic and expressive values of colors and began to use them for this purpose rather than, as did the Impressionists, for the reproduction of visual appearances, atmosphere, and light. `Instead of trying to reproduce exactly what I have before my eyes,' he wrote, `I use color more arbitrarily so as to express myself more forcibly'.

The night caf�
1888; Yale University Art Gallery

Of his Night Caf�, he said: `I have tried to express with red and green the terrible passions of human nature.' For a time he was influenced by Seurat's delicate pointillist manner, but he abandoned this for broad, vigorous, and swirling brush-strokes.

La chambre de Van Gogh � Arles (Van Gogh's Room at Arles)
1889 (200 Kb); Oil on canvas, 57 x 74 cm (22 1/2 x 29 1/3 in); Musee d'Orsay, Paris

Vincent's Room, Arles
1888; Vincent Van Gogh Foundation, Amsterdam

Entrance to the Public Garden in Arles
1888 (240 Kb); Oil on canvas, 72.5 x 91 cm (28 1/2 x 35 3/4 in); The Phillips Collection, Washington, D.C.

Self-Portrait with Bandaged Ear
1889 (250 Kb); Oil on canvas, 60 x 49 cm; Courtauld Institute Galleries, London

In February 1888 van Gogh settled at Arles, where he painted more than 200 canvases in 15 months. During this time he sold no pictures, was in poverty, and suffered recurrent nervous crisis with hallucinations and depression. He became enthusiastic for the idea of founding an artists' co-operative at Arles and towards the end of the year he was joined by Gauguin. But as a result of a quarrel between them van Gogh suffered the crisis in which occured the famous incident when he cut off his left ear (or part of it), an event commemorated in his Self-Portrait with Bandaged Ear (Courtauld Institute, London).

Landscape at Saint-R�my
1889; Ny Carlsberg Glypotek, Copenhagen

Mountains at Saint-Remy
1889 (220 Kb); Oil on canvas, 71.8 x 90.8 cm (28 1/4 x 35 3/4 in); Solomon R. Guggenheim Museum, New York

In May 1889 he went at his own request into an asylum at St R�my, near Arles, but continued during the year he spent there a frenzied production of tumultuous pictures such as Starry Night (MOMA, New York). He did 150 paintings besides drawings in the course of this year. In 1889 Theo married and in May 1890 van Gogh moved to Auvers-sur-Oise to be near him, lodging with the patron and connoisseur Dr Paul Gachet. There followed another tremendous burst of strenuous activity and during the last 70 days of his life he painted 70 canvases. But his spiritual anguish and depression became more acute and on 29 July 1890 he died from the results of a self-inflicted bullet wound.

Dr Paul Gachet

L'�glise d'Auvers-sur-Oise (The Church at Auvers-sur-Oise)
1890 (220 Kb); Oil on canvas, 94 x 74 cm (37 x 29 1/8 in); Musee d'Orsay, Paris

Village Street in Auvers
1890 (230 Kb); Oil on canvas, 73 x 92 cm (28 3/4 x 36 1/4 in); Ateneumin Taidemuseo, Helsinki

He sold only one painting during his lifetime (Red Vineyard at Arles; Pushkin Museum, Moscow), and was little known to the art world at the time of his death, but his fame grew rapidly thereafter. His influence on Expressionism, Fauvism and early abstraction was enormous, and it can be seen in many other aspects of 20th-century art. His stormy and dramatic life and his unswerving devotion to his ideals have made him one of the great cultural heroes of modern times, providing the most auspicious material for the 20th-century vogue in romanticized psychological biography.

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Montmartre

Vegetable Gardens in Montmartre
1887 (170 Kb); 96 x 120 cm

Starry Night over the Rhone
1888 (160 Kb); 72.5 x 92 cm

The Starry Night

The White House at Night
June 1890 (Auvers); Oil on canvas, 59 x 72.5 cm (23 1/4 x 28 1/2"); No. 3KP 511. Formerly collection Otto Krebs, Holzdorf; Last exhibited 1924
At the end of WWII, as the Soviets pulled back from Germany, they took with them many German-owned works of art. These masterpieces were stored in the basement of the Hermitage in Leningrad, a Soviet state secret for nearly a half century. They have now been put on public exhibition. -- Mark Harden

Reactie van Nastybtch

Thu, 23 Mar 2006 07:59:31 +0100

Dal�, Salvador
Dal�, Salvador (s�lv�thōr' d�lē', d�'lē) [key], 1904–89, Spanish painter. At first influenced by futurism, in 1924 Dal� came under the influence of the Italian painter de Chirico and by 1929 he had become a leader of surrealism. His precisely realistic style enhances the obsessively nightmarish effect of many of his paintings. Among his best-known works is Persistence of Memory (1931; Mus. of Modern Art, New York City) with its strangely melting clocks. In 1940 Dal� escaped from Nazi-occupied France and emigrated to the United States. He wrote The Secret Life of Salvador Dal� (1942) and also made surrealist ventures in films (e.g., Luis Bu�uel's Un Chien andalou, 1928), advertising, and the ballet. A self-proclaimed genius, Dal� was certainly a multitalented artist–a superb draftsman whose wildly inventive imagination has left a strong impression on contemporary culture. However, his publicity-seeking antics, commercialism, and encouragement of art-world trickery that made fake Dal� prints an industry caused some to brand him a charlatan. The Salvador Dal� Museum, St. Petersburg, Fla., and Teatre-Museu Dal�, Figueres, Spain, are devoted to his works.

Bibliography
See his diary, ed. by M. D�on (tr. 1965), Diary of a Genius (tr. 1994); C. Maurer, ed., Sebastian's Arrows: Letters and Momentos of Salvador Dal� and Federico Garc�a Lorca (2004); R. Descharnes and G. Neret, Dali: The Paintings (2 vol., 2004); biographies by I. G. De Liano (1984), R. Rom (1985), M. Etherington-Smith (1993), and I. Gibson (1998); studies by C. Lake (1969), H. N. Finkelstein (1996), R. Goff (1998), and R. Radford (1998).

Dal�, Salvador
Dal�, Salvador (s�lv�thōr' d�lē', d�'lē) [key], 1904–89, Spanish painter. At first influenced by futurism, in 1924 Dal� came under the influence of the Italian painter de Chirico and by 1929 he had become a leader of surrealism. His precisely realistic style enhances the obsessively nightmarish effect of many of his paintings. Among his best-known works is Persistence of Memory (1931; Mus. of Modern Art, New York City) with its strangely melting clocks. In 1940 Dal� escaped from Nazi-occupied France and emigrated to the United States. He wrote The Secret Life of Salvador Dal� (1942) and also made surrealist ventures in films (e.g., Luis Bu�uel's Un Chien andalou, 1928), advertising, and the ballet. A self-proclaimed genius, Dal� was certainly a multitalented artist–a superb draftsman whose wildly inventive imagination has left a strong impression on contemporary culture. However, his publicity-seeking antics, commercialism, and encouragement of art-world trickery that made fake Dal� prints an industry caused some to brand him a charlatan. The Salvador Dal� Museum, St. Petersburg, Fla., and Teatre-Museu Dal�, Figueres, Spain, are devoted to his works.

Bibliography
See his diary, ed. by M. D�on (tr. 1965), Diary of a Genius (tr. 1994); C. Maurer, ed., Sebastian's Arrows: Letters and Momentos of Salvador Dal� and Federico Garc�a Lorca (2004); R. Descharnes and G. Neret, Dali: The Paintings (2 vol., 2004); biographies by I. G. De Liano (1984), R. Rom (1985), M. Etherington-Smith (1993), and I. Gibson (1998); studies by C. Lake (1969), H. N. Finkelstein (1996), R. Goff (1998), and R. Radford (1998).