The AGNSW’s current Intensely Dutch exhibition (presenting post-WW2 Dutch modernists) contains two lovely works by Jan Schoonhoven, an artist I’ve researched on the web since seeing the show. Sorry, no photos from this exhibition – it’s one of those where no photography is allowed, which puts a bit of a dampener on things. The works are Circle Dish Relief (from 1966) and Rhythmical Grid Relief (from 1968).
After said web searching, here’s De Cirkel, a work similar to Circle Dish Relief, and with a confidence and crispness about it that I recognised in De Cirkel and which made the latter work powerful and engaging despite its apparent simplicity.
Jan Schoonhoven (1914-94)
De Cirkel 1967
White-painted papier mâché on board, 120 cm. diameter.
From Sotheby’s catalogue for the sale of De Cirkel in 2001:
The year 1961 saw the formation of the Dutch NUL, or Zero, group by artists Jan Schoonhoven, Armando, Kees van Bohemen, Jan Henderikse and Henk Peeters, choosing their name in imitation of the German Zero Gruppe, created in 1957. These five artists had close links with Lucio Fontana and Yves Klein, proponents of Modern monochrome painting, who had similar goals to the NUL artists: a rejection of the extreme individualism of post-war Abstract Expressionism and a longing for impersonal, “objective” art. Like others in the group Jan Schoonhoven embraced a form of art that expressed no personal feeling; which he achieved by placing simple forms in rows under and across each other, and painting them white.
There’s a selection of Schoonhoven’s works in the MoMA collection, and more work on-line at Galerie m Bochum.
Rhythmical Grid Relief was a grided work of cardboard and papier mâché, in white acrylic. In each cell of this grid were two alternating planes, like little pitched roofs, and the overall effect was energised and beautifully – as the name suggests – rhythmical. And as I said, no photo allowed. I don’t get this policy!
{ 2 comments… read them below or add one }
Hi Ron,
From the museum perspective, sometimes there are copyright issues that are enforced (via exhibition contracts) by the estate, lender, etc. That could be the reason. Also, sometimes the museum will do a blanket prohibition since lots of people don’t understand how to turn the flash off (which will cumulatively degrade pigments). The Gugg – photos can only be taken on the rotunda floor, not on the ramps. The Met, MoMA – usually everywhere, but no flash. (The guards are continually saying ‘no flash’ for the non-understanders. Sometimes not in special exhibitions though. It’s different everywhere!
Thanks Philip, good to get a response from a specialist in this area.