Waanders – serie

This richly illustrated publication accompanies a major exhibition organised by Kunstmuseum Den Haag in collaboration with Tate, exploring the School of London — a group of postwar artists who redefined figurative painting in Britain. Featuring more than 70 works by Francis Bacon, Lucian Freud, David Hockney, Paula Rego, Frank Auerbach, and their contemporaries, the book traces how these painters captured the human condition in an era of social and cultural upheaval. While Paris and New York led the charge in abstraction, London fostered a quieter yet profound revolution centered on the human body and psyche. Through essays and artworks, the catalogue reveals how these artists grappled with shifting notions of identity, intimacy, and power, offering a compelling perspective on 20th-century art and reaffirming London’s role as a crucible of postwar creativity.

“… In fact, my entire journey through Amsterdam’s vibrant house museums was one great historical sensation in a variety of contexts. I followed in the footsteps of Dutch East India Company directors, workers, orphans, writers, artists, architects, and many others, seeing how they lived and worked. How they ate in poverty-stricken 19th-century slums or at lavishly laid tables in canal-side mansions of Van Loon or Bartolotti. How they prayed in secret with Father Parmentier in a clandestine attic church. I am not longer just an Amsterdammer: now I’m an Amsterdammer with a past." - Froukje Wattel.Text in English and Dutch.

"This book immediately becomes the reference on how to create exhibitions in modern museums and how to work through the complexities of the exhibition development process, and it does so with humour, flair, and great understanding of the hard work involved." - Russell Briggs, Director Engagement, Exhibitions & Cultural Connection, Australian Museum"This method is an indispensable tool for all museum professionals: from director and curator to project manager and marketeer." - Wim van der Weiden Founder of EMADeveloping Exhibitions describes an extensive in-depth methodology and practical framework on the development and production of exhibitions. It is a manual, with schemes and systems and a focus on the processes, and on the practice of developing content and storylines. As there is no other such clear-cut manual at present, it is already clear it will be used by several courses and programmes.

This catalogue for an exhibition at the Bonnefanten Museum in Maastricht features paintings by Pieter Bruegel the Younger and his contemporaries that depict the popular religious subject “Christ Carrying the Cross,” and examines these works for covert critiques of power and politics in Flanders during the 16th and 17th centuries. The show explores how artists incorporated both direct and indirect social and political criticisms into paintings on this theme, and brings together a selection of works from Bruegel the Younger, his predecessors, contemporaries, and followers.

‘This is me, Hee-haw. I’m going to tell you a story. Not just any old story – a Christmas story. You’re going to see the most beautiful paintings and drawings in the world too. You’ll probably be surprised to see how many pictures I’m in. Hundreds – no, thousands! And that’s because I, Hee-haw, play a very important part in this story. As you will see.’ Martine Gosselink, director of the Mauritshuis museum, tells the Christmas story through the eyes of Hee-haw the donkey, drawn by Thé Tjong-Khing. ‘How come? Because I was always there!’

What happens when two art forms – the literary and the visual arts – come together? For its bicentenary, the Mauritshuis asked 200 writers to draw inspiration from the museum’s collection. The crème de la crème of today's literary community, from at home and abroad, participated in this remarkable book. One writer; one work of art from the Mauritshuis; 200 words per contribution – never before have so many authors appeared together in a single publication. To name just a few of the contributors: Isabel Allende, Margaret Atwood, Nicci French, Arnon Grunberg, Murat Isik, Hilary Mantel, Cees Nooteboom, Jan Cremer, Connie Palmen, Sholeh Rezazadeh, Simon Schama and Donna Tartt. The authors themselves were allowed to decide what they wanted to write and the amazing result is stories, poems, short reflections, drawings and even a recipe.

In this book, three famous, late 19th-century artists take centre stage: Vincent van Gogh (1853-1890), Paul Cézanne (1839-1906) and Henri Le Fauconnier (1881-1945). They played a crucial role in the genesis of the Bergen School. The works of these great masters are juxtaposed with the oeuvres of the very first Bergen School artists: Leo Gestel, Gerrit Willem van Blaaderen, Else Berg, Mommie Schwarz, Dirk Filarski, Arnout Colnot and the Wiegman brothers. This book paints a new and more nuanced picture of the rise of Expressionism in the Netherlands. Van Gogh, Cézanne, Le Fauconnier & the Bergen School thus represents a valuable addition to the history of Dutch art.

Manhattan Masters shows the most beautiful Dutch Masters from the Golden Age in The Frick Collection, New York. The book elaborates the creation of The Frick Collection, brought together during America’s Gilded Age in the last quarter of the 19th century. This book, published to accompany the exhibition, focuses exclusively on Dutch paintings of the 17th century and features outstanding works by renowned artist of that period, including Rembrandt, Vermeer, Hals, and Ruisdael.

Henry Moore (1898–1986) is undoubtedly one of the leading English sculptors of the 20th century. His work in museums, parks and on town squares can be admired throughout the world. How did Moore arrive at his unique and instantly recognisable visual vocabulary?Henry Moore – Form and Material is not just a display of masterpieces from his oeuvre but also focuses on the evolution that he underwent as a sculptor and the influence that nature has had on his work. This dozens of objects and sculptures collected together in this publication reveal the vision and creative process that formed one of the most important innovators of modern sculpture. The selected works illustrate how the choice of materials shaped the form, dimensions and subjects of his sculptures.Text in English and Dutch.

The Danish artists participating in the Cobra movement (1948-1951) are 10 to 15 years older than their Dutch and Belgian colleagues. They experienced in the '30s and '40s an intense artistic development, which later unmistakably influenced Cobra and is thus of great importance for the Dutch postwar visual art. With the Danish triptych exhibition, the Cobra Museum of Modern Art opens the anniversary year 2023, which is dedicated to the founding of the Cobra movement - 75 years ago.Text in English and Dutch.

Inspired by poets, draftsmen and printmakers, painters also discovered Haarlem and its beautiful surroundings as rewarding subjects for their work. Jacob van Ruisdael and Gerrit Berckheyde both repeatedly pictured the city – the former with his ‘Haerlempjes’, where heavy cloudy skies dominate the landscape and the unmistakable St Bavo’s Church stands on the horizon. Berckheyde is known for his atmospheric cityscapes: the Grote Markt, with St Bavo’s as the focal point, the Weigh House on the River Spaarne and the city gates.

When the survival of the Catholic Church was threatened during the Republic and Catholic shelter churches were not allowed to be recognisable from the street, what was not allowed to be shown on the outside was compensated for on the inside. In the 17th century, the robes became gold, silver and silk expressions of silent resistance, but also of a feminist agenda of the makers. Behind closed doors, everything was literally and figuratively pulled out to propagate the Catholic faith. Worn ball gowns with colourful flowered French, English and Chinese fashion fabrics were donated to the church by rich, pious women so that beautiful and special church vestments could be made from them. So it could easily happen that a priest in a pink robe with flowers stood at the altar.

‘Rooms of fragments’ is how Tilo Baumgärtel (1972) describes his artworks. That is a perfect description. Because when one looks at one of his works, it is never entirely clear what is happening. Different elements alternate each other in colourful and fairytale-like worlds, creating a high degree of intrigue and alienation: what has happened here? Or better yet, what is about to happen? Baumgärtel can be considered one of the most remarkable Leipzig artists of his generation. He graduated from the Hochschule für Grafik und Buchkunst in 2000 and is often considered to be part of the so-called 'Neue Leipziger Schule'.Text in English and Dutch.

Roelant Savery (1578-1639) was among the large group of Flemish artists who arrived in the Northern Netherlands around 1600, during the Eighty Years' War. There, they were at the cradle of the great flowering of art in the 17th century. Savery was a highly versatile draughtsman and painter, specialising in landscapes, animal scenes and flower still lifes. With encyclopaedic precision, he depicted countless different species: animals, flowers but also people from various regions, from Bohemian peasants to Jewish believers in the synagogue. Savery became the painter of the extinct dodo from Mauritius. For more than a decade, Savery worked in the service of the Habsburg emperor Rudolf II in Prague, who sent him out to capture the landscapes and people of his empire. Coming from the Low Countries, the waterfalls in the Alps must have made a deep impression on the artist. After returning to the Netherlands, Roelant Savery settled in Utrecht, where he created a garden with precious flowers and plants behind his house. This way, he did not have to leave home to find inspiration for his flower still lifes.

The new French art movement known as ‘impressionism’ blew through Europe like ‘a breath of fresh air’. This publication focuses on artists from Denmark, Germany and the Netherlands, including important representatives of the movement such as Anna Ancher, Lovis Corinth, Isaac Israels, Johan Barthold Jongkind, Peder Severin Krøyer, Max Liebermann and Max Slevogt. A selection of highlights from the collections of three museums showcases the individual varieties of ‘Northern Impressionism’. The catalogue accompanies the touring exhibition of the same name, a cooperation between the Museum Singer Laren, the Museum Kunst der Westküste, Alkersum/Föhr, and the Landesmuseum Hannover.Text in English and Dutch.

This book sheds new light on Delft pottery from the 17th and 18th centuries. During this period, the Delft pottery industry took off, under the strong influence of a changing world. Delft potters were seen as true innovators. Today, ceramics is experiencing another heyday. A new vanguard of Dutch makers is rediscovering the age-old craft and taking a fresh look at the material and its significance. Pioneering Ceramics zooms in on innovation within the ceramic craft. The basic recipe of ceramics has hardly changed over the centuries, but the world in which ceramics are made has. The publication takes a closer look at similarities and differences between pioneering makers then and now.Text in English and Dutch.

For more than two decades, artist Antonio López dragged his painting gear up and down a high tower to finish his panoramic painting of Madrid. It is typical of the Spaniard: the painting process is a way of getting to know the world better, he thinks. By measuring everything extensively and always staying close to his subject, López manages to flawlessly copy reality. But his work never becomes distant or cold.Although López was once described as "the greatest realist artist" by American art critic Robert Hughes back in the 1980s, his fame in the Netherlands has not yet achieved anything. Until now. This book serves as a Dutch introduction to the life and work of López. We get to know him personally in an interview and find out more about his technique in articles by various Dutch and Spanish authors.

Jan Davidsz. de Heem (1606-1684) was one of the best still-life painters of the 17th century. His work, which is enchanting to the eye, has always enjoyed international fame. Throughout his painting career of nearly 60 years, de Heem continued to search for new and better ways to depict his subjects. He trained several pupils and had countless followers and imitators, in the Netherlands as well as abroad, and throughout the centuries. The fact that he was active in both the Northern and Southern Netherlands enhanced his success and fame. He worked successively in Leiden, (presumably) in Amsterdam, in Antwerp, in Utrecht and again in Antwerp.De Heem is perhaps best known for his exuberant floral still lifes, which, however, were mainly created after 1660. By then, already for decades, he had painted still lifes of many themes and motifs, and in a variety of sizes, modest as well as luxurious. In Antwerp he had developed the large, rich still lifes which earned him part of his renown.This comprehensive monograph written by Fred G. Meijer, contains the complete catalogue of de Heem's oeuvre. Volume 1 includes an introduction, a biography and description of the development of his work. Volume 2 contains the catalogue raisonné of all paintings now known by de Heem, as well as several appendices.

Over 200 years ago, the Mauritshuis hosted not one, but two museums. On the upper floor was the Royal Cabinet of Paintings, while on the ground floor, thousands of objects of all kinds were on display in the Royal Cabinet of Rarities. This rarities cabinet closed in 1875 and the objects were distributed to various Dutch institutions. The temporary exhibition The Vanished Museum about this Royal Cabinet of Rarities is accompanied by a publication with essays by 30 experts, including curators of the Rijksmuseum in Amsterdam and the Wereldmuseum in Leiden. In relatively short texts, the reader is taken through the rich and often complex history of the institution. The diverse topics and perspectives suit the motley nature of the collection. From a text about an unusual ivory Chinese puzzle ball, to a reflection on the formation of cultural stereotypes; from a kayak on the ceiling, to a hat that turns out not to belong to Willem van Oranje after all.

Marianne von Werefkin played a key role in the development of expressionism in the early 20th century, thanks to her knowledge of the latest developments in Paris. She brought this to Germany and later Switzerland and developed a unique way of painting herself, using rhythm and colour to convey her vision and emotions. Social themes, such as the lives of workers and women, remained of great importance to her. Werefkin was at the cradle of several artists' networks, such as Der Blaue Reiter, which included her partner Alexej von Jawlensky as well as Wassily Kandinsky, Franz Marc and Gabriele Münter. Museum De Fundatie is the only museum in the Netherlands to have a work by Werefkin in its collection and, with this book, offers an overview of her colourful universe for the first time in the Netherlands. Several essays give a multifaceted impression of the life, work and significance of one of the greatest art innovators of the last century.

How do you portray sin, evil and foolishness in humans? Religious and political tensions and even the weather - we are talking about the depths of the Little Ice Age - contributed to a boom in representations of the Seven Deadly Sins in the Low Countries and immediate surroundings in the long sixteenth century. In this publication, four accessibly written essays highlight different sides of the pictorial tradition of the Seven Deadly Sins, with the renowned print series of the same name designed by Pieter Bruegel the Elder at its centre. A fifth, literary essay describes the feverish visions of one of the victims of a true 16th-century series of murders permeated by the deadly sins.

This is the first time a Dutch museum has devoted an exhibition exclusively to the three-dimensional work of Joan Miró. Thanks to close cooperation with renowned museum partners and public collections, including the Fundació Joan Miró and the Fondation Maeght, 55 sculptures by the Catalan grandmaster of surrealism will be shown to the public. The selection includes some plaster models never before exhibited in a museum. The exhibition is accompanied by this richly illustrated publication, which, among other things, details the artist's working methods and the symbolism of his sculpture.Text in English and Dutch.

The story of the discovery of the 55 most important colours in creative man's existence from prehistoric times to the present, written from the artist's perspective. Monica Rotgans describes the many dyes and pigments that humans have turned into paint and colour, and how to recognise them.Learn all about red mercury, white lead, blue glass, black kohl, pink louse, yellow earth, brown asphalt, green arsenic, and much more. A richly illustrated and accessibly written book about the origins and growth of the painter's palette.

Reality Check shows an overview of a decade of Dutch realism in painting, photography, video, sculpture, installations, drawings and graphics. On the basis of over 50 artists - young and old, established and recently graduated - Sito Rozema - curator at Museum MORE - outlines the latest developments in realism in the Netherlands. What is it in our time that prompts the contemporary artist increasingly opt for a figurative visual language to explore reality? The catalogue, the participating artists themselves have their say: what does realism mean to them?Text in English and Dutch.

Mesmerising salt flats, ice caps and deserts: Dutch photographer Scarlett Hooft Graafland (1973) photographs magical landscapes in the most remote areas of the world. From Iceland to Madagascar and from Bolivia to Turkey she stages colourful and often mysterious performances and installations. Hooft Graafland stays in those places for long periods of time and always works closely with the local population. She chooses her subjects while she’s there, inspired by nature and the culture of the location. Her personal insights of life return in her work. She addresses topical issues like climate change, inequality and the position of women with humour and surprise. The tranquil images are surprising and enchanting, reality and illusion come together.Text in English and Dutch.

Charley Toorop's work has its own originality and power. This is not to say that she did not have an eye to the work of other artists. On the contrary. Toorop admired the painting of Piet Mondrian, but also of foreign contemporaries such as Pablo Picasso and Fernand Léger. Yet there is one artist who she believes stood at the cradle of her artistry and for whom she subsequently had respect throughout her life: Vincent van Gogh. His work was for her ‘the breakthrough to a new world'.Four essays explain her fascination and place it in a broader context. They include her travels to the Borinage and southern France where she saw the landscape and people through Van Gogh's eyes, her awe of Van Gogh's ‘deep barren love of reality' placed in the social and political engagement of the interwar period and her interest in man's state of mind.

Bouke de Vries, based in London, gets the viewer thinking with his extraordinary artworks of broken porcelain and discarded shards. He creates extraordinary works of art from broken porcelain and pottery and discarded shards. With these he makes the viewer think about what beauty and perfection are. This combination of craftsmanship and creativity makes his art both visually impressive and conceptually stimulating. De Vries' museum work is included in many leading international collections and he is represented by leading international galleries. This book presents an overview of the highlights of his career, in which he plays with the theme of decay and recovery. In his still lifes, relics and large installations, Bouke de Vries respects the history of objects, but adds humour and depth. The observant viewer experiences how the life of an object through the ages changes its owner, context and meaning. Several international art critics wrote a contribution for this book.Text in English and Dutch.

In the last quarter of the 19th century, the Netherlands was a popular travel destination for artists. The American artists Gari Melchers and George Hitchcock visited the country in the 1880s. In 1884, they settled in Egmond aan Zee, then little more than a small, isolated fishing village. There they painted the life of the people and the landscape. Melchers soon garnered international success with The Sermon, while Hitchcock caused a furore with A Tulip Field. The presence of Melchers and Hitchcock in Egmond exerted a great attraction on professionals. A large crowd of artists travelled to Egmond, especially after Hitchcock in 1891 started his summer courses, which attracted remarkably many female artists. Among the artists who worked there were James Jesuba Shannon, Henri Moret, Florence Upton and Letta Crapo Smith. Longing for Egmond offers an overview of the developments in the Egmond artist colony and the key role played by Hitchcock and Melchers fulfilled there.

The work of Russian-French sculptor Ossip Zadkine (1888-1967) is full of mythological figures, including Diane, Narcissus and Orpheus. Zadkine particularly identified with the latter. Just as Orpheus managed with his music to prompt animals, plants and even rocks to dance, so the artist brought material to life with his hands. Zadkine therefore referred to this creative metamorphosis as “the Orphic event”. He also turned his own life story into a myth. The idea of becoming an artist had been revealed to him as a child, he said, when he had fallen with his hand in the clay. From that point on, Zadkine allowed himself to be guided by nature, which he regarded as a source of perpetual change.Text in English and Dutch.