Museum Møhlmann - Expositie 34

Artists:		Dina Belga, Klaas Werumeus Buning, Hans Dolieslager, Janhendrik Dolsma, Peter Durieux, Siemen Dijkstra, Flip Gaasendam, Reinder Homan, René Jansen, Pieter Knorr, Corry Kooy, Huib Rademakers, Ed Ubels, Gerrit de Vries, Paul Wieggers
Sculptures:		Martin Hogeweg, Greta van Puyenbroeck and Hennie Unkel; wooden objects van: Jos Handgraaf
Technique:		oilpaint, acrylics, drawing, etching, colour woodcut, pastel, bronze, wood
Date of exhibition:		April 3 - June 7 2009

Springtime-exhibition

At last the time has come: timidly the first snowdrops start to appear with hanging heads. And it will only be a while before trees and bushes will start budding. And then... our museum will re-open and will remain open until the 15th of December. In that period three exhibitions will be held. We will kick-off with our Springtime-exhibition. What will there be on show?

The whole of the first floor will be dedicated to our Museum-collection, consisting of works of contemporary Lowland artists and works by Rob Møhlmann himself. All together more than 250 works of art. In the former cowshed will - for the first time since a very long time - be taken up by the Canto Collection, the mind-blowing series of 124 paintings by Rob Møhlmann, all depicting one and the same can of the legendary brand Canto.

Klaas Weremeus Buning, Un Bel Dia, acrylics on canvas,100x120cm., 4.500 euro | zoom |

Charles Henry, Malou, h50cm, brons

Corry Kooy, Wat een waaier, pastel, 50x65cm., 1.900 euro | zoom |

Frans Klerkx, doosje, 26x28cm. o/p
Siemen Dijkstra, Over Elyzeese Velden, 2009, colour-woodcut, 20x57cm., 375 euro | zoom |

Henk Helmantel, Romeins glas, 61x61cm. o/p
Dina Belga, Shocking Blue, oil on panel, 21x21cm., 1.600 euro | zoom |

Herman van Hoogdalem, De blauwe kimono, 29x18cm, o/p
Hans Dolieslager, Lichte horizon, oil on canvas, 50x110cm., 2.850 euro | zoom |
The central space of the groundfloor will be taken up by new paintings by Rob Møhlmann. The world has been deprived of those for two years, and that has been all too long. So: a small solo-exhibition. It was by no means easy taking up a paintbrush after such a long time and, furthermore, it remained to be seen how the light in the new workshop would work, as many a colleague found it pretty dark. Well, that turned out better than expected. At the back it was indeed a bit dark, but near the windows a lovely Northern light streamed in. It was such a fine light that five small paintings were actually born on the windowsill. In all, fifteen new works will be on show and for sale.
The remainder of the ground floor will be taken up by no fewer than seventeen well-known artists, who will all be exhibiting a number of works. Of all of them a work is to be seen here below, together with (if already known and under restriction) the price.

Margot Homan, Gevleugelde gedachte, h37cm, marmer
Janhendrik Dolsma, Strand Met Weerspiegelde Wolken, 90x120cm (sold) | zoom |

Peter Durieux, Bij le Bateau, 10x43cm. pencil, 975 euo | zoom |

Rob Møhlmann, Naar het leven, 40x40cm, o/p
Ed Ubels, Sunny Wave, oil on panel, 12x13cm., 1.100 euro | zoom |

René Jansen, Wit Kastje, oil on panel, 40x50cm. | zoom |

Pieter Knorr, Helleborus, 39x34cm. oil on panel, 6.200 euro | zoom |

Rob Møhlmann, In de vensterbank-3, oil on panel, 2009, 20x30cm., 2.750 euro | zoom |
Rob Møhlmann, Naar het leven, 40x40cm, o/p
Greta van Puyenbroeck, IJsbeer liggend, 8 copies, Gietwerk Art Casting (BE), 3700 euro | zoom |

Huib Rademakes, It's a beautiful day, oil on panel, 54x45cm., 1.600 euro | zoom |
Lotta Blokker, Levity, 100x90x120, brons
Flip Gaasendam, Canal Grande, oil on panel, 30x30cm., 2800 euro | zoom |

Janhendrik Dolsma, Breebaart Polder, 90x90cm, o/l
Hennie Unkel, Pretty Woman, bronze (only copy) 15cm., 595 euro | zoom |

Peter Durieux, Labrot, 30x75cm, a/p
Jos Handgraaf, Holle vorm (Atlasceder), wooden object, 46cm., 375 euro | zoom |

Siemen Dijkstra, De Bork, 37x43cm, kleurhoutsnede
Martin Hogeweg, Bosuil, bronze. Pedestal Irish blue stone, 8 copies, 6.500 euro | zoom |

Reinder Homan, Zonnig bos, 14x18cm, ets
Reinder Homan, Vervallen kar, etching, 2x24,5cm., 250 euro | zoom |
Rob Møhlmann, Naar het leven, 40x40cm, o/p
Gerrit de Vries, Verticale odysee, oil on panel, 73x60cm., 3.750 euro | zoom |

Paul Wieggers, Drooggevallen sloot, oil on panel, 16x50cm., 1.950 euro | zoom |

From the basement of Krol
The painting From the basement of Krol has a peculiar history. In 1999 Mr. Krol, who had lived for quite a long time in the beautiful but somewhat dilapidated farm at the Damsterdiep in Appingedam, passed away. The property now had to be divided and a lot had to be cleared out, as the farm was going to be sold. Just before all that remained was going to disappear into a rubbish skip, the painter Henk Helmantel was asked to come and see if there was anything amongst the "old garbage" that he fancied. As he lives less than 6 miles away, Henk mounted his inevitable moped, came, and found some old kitchen utensils in the basement.

In 2007 we appear on the stage, and buy the partly restored farm, which is currently a listed building. After an extensive rebuild the farm then gets a new function as a museum for contemporary realistic art. In the autumn of 2008 the museum is finally opened with a spectacular anniversary-exhibition. At the festive opening Henk Helmantel is amongst the invited. Henk is carrying a somewhat shabby box around, which he duely hands over to me. I immediately start glowing, as I discern something beautiful: perfectly everyday objects into which Time had firmly set its teeth - favourites of mine since the day I picked up a paintbrush. At that moment I was also told the little history stated above. Henk thought that at this special occasion he should return to the house what he had temporarily guarded.

Rob Møhlmann, Uit de Kelder van Krol (From the basement of Krol), 2009, 50x70cm.

A month later I started working on the painting, mindful of the old Mr. Krol, a legendary figure, who in his active days used to cycle with a 10 meter long wooden ladder on his shoulder from farm to farm to do all sorts of carpentry jobs. Here at the attic he had also knocked together his own coffin, in which he used to lie from time to time. For that reason there are two hand-forged old nails in the still life. Old-fashioned objects, not for nostalgic reasons, but Krol was of the old school. Anyone entering the farm in 1999, stepped 50 years back in time.
The still life is arranged on wooden planks to which a ring is attached. This seems to suggest a hatch, and thus a cellar. It is, however, part of a hatch, found in the farm, that in the cowshed served to cover a part of the trench in which the dropping of the cows were collected. The old bottle was also found in the shed. It was built into a drain, apparently meant to serve as a stench-trap. Reflected in the bottle we see the window which the old Krol also used to see through. It's the window of the former horseshed, later the window of a warehouse of the Appingedam waterworks and now the window of my workshop. The candleholder - essential in a cellar - is made of enamel. The candle has been snuffed and is almost finished. Spent matches lie on the wood. A vanitas? A memento mori? Perhaps. Out of the matchbox sticks a new match. Perhaps its not yet lit tip hints at a new chance, a new light, a new life. Also for insignificant objects, that would otherwise have thoughtlessly been thrown away.

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From the basement of Krol The painting From the basement of Krol has a peculiar history. In 1999 Mr. Krol, who had lived for quite a long time in the beautiful but somewhat dilapidated farm at the Damsterdiep in Appingedam, passed away. The property now had to be divided and a lot had to be cleared out, as the farm was going to be sold. Just before all that remained was going to disappear into a rubbish skip, the painter Henk Helmantel was asked to come and see if there was anything amongst the "old garbage" that he fancied. As he lives less than 6 miles away, Henk mounted his inevitable moped, came, and found some old kitchen utensils in the basement. In 2007 we appear on the stage, and buy the partly restored farm, which is currently a listed building. After an extensive rebuild the farm then gets a new function as a museum for contemporary realistic art. In the autumn of 2008 the museum is finally opened with a spectacular anniversary-exhibition. At the festive opening Henk Helmantel is amongst the invited. Henk is carrying a somewhat shabby box around, which he duely hands over to me. I immediately start glowing, as I discern something beautiful: perfectly everyday objects into which Time had firmly set its teeth - favourites of mine since the day I picked up a paintbrush. At that moment I was also told the little history stated above. Henk thought that at this special occasion he should return to the house what he had temporarily guarded.

Rob Møhlmann, Uit de Kelder van Krol (From the basement of Krol), 2009, 50x70cm.

A month later I started working on the painting, mindful of the old Mr. Krol, a legendary figure, who in his active days used to cycle with a 10 meter long wooden ladder on his shoulder from farm to farm to do all sorts of carpentry jobs. Here at the attic he had also knocked together his own coffin, in which he used to lie from time to time. For that reason there are two hand-forged old nails in the still life. Old-fashioned objects, not for nostalgic reasons, but Krol was of the old school. Anyone entering the farm in 1999, stepped 50 years back in time. The still life is arranged on wooden planks to which a ring is attached. This seems to suggest a hatch, and thus a cellar. It is, however, part of a hatch, found in the farm, that in the cowshed served to cover a part of the trench in which the dropping of the cows were collected. The old bottle was also found in the shed. It was built into a drain, apparently meant to serve as a stench-trap. Reflected in the bottle we see the window which the old Krol also used to see through. It's the window of the former horseshed, later the window of a warehouse of the Appingedam waterworks and now the window of my workshop. The candleholder - essential in a cellar - is made of enamel. The candle has been snuffed and is almost finished. Spent matches lie on the wood. A vanitas? A memento mori? Perhaps. Out of the matchbox sticks a new match. Perhaps its not yet lit tip hints at a new chance, a new light, a new life. Also for insignificant objects, that would otherwise have thoughtlessly been thrown away.