| Artists: |
|
Epko Cordèl, Flip Gaasendam, Kenne Grégoire, Henk Helmantel, Chris Herenius, Aad Hofman, René Jansen, Frans Klerkx, Pieter Knorr, Harry Meerveld, Rob Møhlmann, Rein Pol, Ben Snijders, Herman Tulp and Hennie van der Vegt |
| Techniques: | various | |
| Date of exhibition: | Februari 14 - April 18, 2004 |
"Be still..."
The Contemporary Dutch Still Life
Book
|
During the Golden Age the Netherlands were famous for their outstanding painting. Particularly still lives dating from this period are great favourites. They feature in countless collections and museums all over the world. However, the fact that nowadays the noble art of still life painting is practised on an equally high level in the Low Countries, is someting that the general public is hardly aware of. The fact is that the still life is mainly associated with the past and not with the present. Museum Møhlmann - a small but in fact the only museum for representational art in the Netherlands - tries to readjust this restricted view with the important still life exhibition "Be still...". A bilingual publication (Dutch/English) will accompany this fine exhibition to which 15 of the best artists in this genre will participate. These artists are: |
|
 Harry Meerveld, Bloemenstilleven, 2003, |
 René Jansen, Vloerstilleven met rozenbottels, 2003,  Henk Helmantel, Stilleven met druiven en sierkalebassen, 1999, o/p, 67x87cm.  Rob Møhlmann, Dood molletje, 2003,  Herman Tulp, Kommetje met aardbeien en lepeltje, 2003,  Ben Snijders, Blauw stilleven met Iris, 2003, |
|
The idea of still lifes does not evoke associations that are particularly sensational; they range form dull to dusty and oafish. But wrongly so, in the opinion of Museum Møhlmann, for in the forties and fifties of the 20th century a generation of (still life) painters was born who brought about a comeback of the still life in the seventies and eighties. Not in the official art world, but the still life was clearly present again in galleries and a number of art magazines. And still on the highest level. This was proved by the large-scale international exhibition that, under the name Mimesis et Inventio, was held in 2002 in the Panorama Museum in the German town Bad Frankenhausen. The Dutch delegation excelled with a exquisite selection. In the catalogue that accompanied the exhibition the unique position of the Dutch was especially mentioned. Not only then, but also now. Apparently there is a characteristic quality that is quite unique for the painters of this small country. And sometimes the country itself turns a blind eye to this. Then a foreign eye might help to recognize and value this quality again, but unfortunately the important exhibition in Germany went completely unnoticed in the Netherlands. Now there is a second change for in 2004 the contemporary Dutch still life takes central stage in the Exhibition "Be still...", with fifteen participating artists who have made, and still make, a considerable contribution to the genre. But what does this contemporary quality consist of? In terms of technique the painters have achieved an exceptional high degree of craftsmanship. And artistically speaking, it would appear that the Dutch still life painter is almost unparalleled in evoking the suggestion of space and tangibility, while at the same time the influences of modern art are absorbed and incorporated. Thus, the art of still life painting is not to be confused with meticulous painting. In the current exhibition there are certainly some fine examples of this approach, but there are even more examples in which a fluent style is used. The latter might seem more easy, but the touch of the painters need to be true, and that ability certainly is rare. In the 17th century one of the main characteristics of the still life was its moralizing message; today the artistic message has the upperhand. The contemporary still life does not strive to be pedantic, it rather wants to show us the beauty of everyday things and the way this beauty can be represented in an artistic manner. And that is where modernity steps in: the freedom in painting a still life is bigger than ever. The cantatas and "table-music" of the olden times are interspersed with jazz, minimal music, blues, chamber music and pop. The painter is no longer concerned with telling a story, but in playing the game of ordering colours, forms and lines on a flat surface, but always with the third dimension as the ultimate guideline. That is: abstract values with reality as the standard. |
The contemporary still life does have one thing in common with the classical still life: both in those days and in ours it is banished to the lowest rung in the hierarchy of art. But as always there is a loyal group of lovers of the still life who will always protect the genre by cherishing and collecting it.
Book
|
On the occasion of this exhibition the bilingual (Dutch/English) book "Stil even.../Be still..." is published. It is bound, has a hard cover and has 112 pages of which 64 are full-colour pages with works of all the participating artists. Texts are by Rob Møhlmann. There is a preface by Gerd Lindner, director of the Panorama Museum in Bad Frankenhausen (Germany). The book costs only € 17,50. |
|
 Cover of "Stil even.../Be still..." |