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Post-war abstract art art movement • artists • artworks for sale

The period of reconstruction after the Second World War was also a time of renewal in art. The styles from before the war were no longer adequate for many young artists. After all, the art of the interwar period had become "contaminated" because the occupier had prescribed classical figuration as the norm. Claiming total autonomy in art was a symbol of resistance against the occupier, who had called the free imagination "degenerate". A new society, a new art was the motto.

Although traditionalism in the Netherlands was still firmly in place after the war - there were a large number of artists who worked in the tradition of the Hague School and the New Objectivity - there were also artists who climbed the barricades. After the war, there were two important art centers in the Netherlands, where experiment and protest were given space: Amsterdam and The Hague. After the war, various artists' collectives were established in both cities, whose artists strived for innovation. In the capital - with the Stedelijk Museum under its young director Willem Sandberg as a stage for the experimentalists - the most important 'freedom movements' were Vrij Beelden (1947-1955), the Dutch Experimental Group (1948), Cobra (1948-1951) and Creatie (1950-1955). Vrij Beelden strived for an abstract and experimental art, referring to abstract art from the early 20th century. Members included Frieda Hunziker,
Bram and Geer van Velde, Piet Ouborg and Willem Hussem. The Dutch Experimental Group, with painters such as Karel Appel, Constant, Corneille, Eugène Brands, Anton Rooskens and Theo Wolvecamp, on the other hand, aspired to a radically new abstract art, free from any relationship with previous abstract movements. Later that year, this group was to found the Cobra movement together with kindred colleagues from Brussels and Copenhagen.

There was also a great need for innovation in The Hague. Painters and sculptors associated with the artists' collectives Verve (1951-1957), De Posthoorn (1956-1962), Atol (1959-1962) and Fugare (1960-1967) were also looking for a new visual language. As in Amsterdam, the emphasis here was on abstraction and experiment, but there was more space and understanding for figurative tendencies. Kees Andréa, Herman Berserik, Theo Bitter, Jan van Heel, Nol Kroes, Co Westerik and Ferry Slebe were artists associated with Verve. Fugare knew many former members of Verve, and within this group too there was room for both abstraction and figuration. Members of Fugare included Theo Bitter, Jan van Heel, Willem Hussem, Nol Kroes, Jaap Nanninga, Wim Sinemus and Theo van der Nahme. "De Posthoorn" derived its name from a café where, from 1949, experimental painters and sculptors exhibited. Artists such as Jan Roëde, Jaap Nanninga, Willem Hussem, Hans van der Lek, Nol Kroes, Jan Cremer, Lotti van der Gaag, Theo Bitter and Kees van Bohemen showed their work there. "Atol" only existed for a short time and had only a small number of members, some previously associated with De Posthoorn.

The Gemeentemuseum fulfilled a role in The Hague that was comparable to that of the Stedelijk Museum in Amsterdam. From 1947 to 1959, the museum organized eight exhibitions that served as a platform for the Hague avant-garde. The term 'Nieuwe Haagse School' was launched in an introduction to one of their exhibitions. In this way they were incorporated into a centuries-old tradition of Hague art, of which The Hague Romanticism and the Hague School were already part of the 19th century. Theo Bitter wrote about this: "The Hague has a good climate for painters. (…) This is mainly due to the location of this city with meadows, forests, dunes and the sea with that silvery light all around. No wonder that the Hague School was created here, a school of artists who tried to capture that light on the bodies of their cows in those pastures and the sails of their boats at sea. The sea air blows refreshingly across the land, creating an atmosphere that tingles in a fine gray glow. That atmosphere still has an effect on the contemporary painter's climate."

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Herman Brood | 3 Männer, watercolour on paper, 24.0 x 30.0 cm, signed l.c.

Herman Brood

watercolour • drawing • for sale

3 Männer

Karel Appel | Clown, woodcut on paper, 76.1 x 56.5 cm, signed l.r.

Karel Appel

prints & multiples • for sale

Clown

Eugène Brands | Toren in landschap (Tower in landscape), oil on paper, 21.5 x 22.5 cm, signed l.r. and dated 5.56

Eugène Brands

painting • for sale

Toren in landschap (Tower in landscape), 1956

Reinier Lucassen | De goddelijke inspiratie van de onsterfelijke Ernst J. (The divine inspiration of the immortal Ernst J.), acrylic on board, 49.5 x 39.5 cm, signed l.r. and on the reverse in full and dated '80 and on the reverse 1980

Reinier Lucassen

painting • for sale

De goddelijke inspiratie van de onsterfelijke Ernst J. (The divine inspiration of the immortal Ernst J.), 1980

Lucebert | Die Wahlverwandtschaften, oil on canvas, 90.2 x 70.0 cm, signed l.r. and dated '90

Lucebert

painting • for sale

Die Wahlverwandtschaften, 1990

Jaap Nanninga | Jungle Flowers, oil on canvas, 80.2 x 90.5 cm, signed l.r. and on the stretcher and dated '60

Jaap Nanninga

painting • for sale

Jungle Flowers, 1960

Piet Ouborg | Untitled, gouache and collage on cardboard, 36.2 x 50.7 cm, executed ca. 1946-1948

Piet Ouborg

watercolour • drawing • for sale

Untitled

Bengt Lindström | Shy woman, oil on canvas, 65.0 x 54.0 cm, signed l.l.

Bengt Lindström

painting • for sale

Shy woman

Will Leewens | Stray blocks, oil on board, 46.8 x 67.3 cm, signed l.r. and dated '57

Will Leewens

painting • for sale

Stray blocks, 1957

Jan Schoonhoven | Untitled, 1988, lithograph on paper, 49.7 x 59.7 cm, signed l.r. (in pencil) and dated 1988  (in pencil)

Jan Schoonhoven

prints & multiples • for sale

Untitled, 1988, 1988

Ernst Vijlbrief | Untitled, oil on canvas, 100.4 x 100.4 cm, signed l.r.

Ernst Vijlbrief

painting • for sale

Untitled

Anton Rooskens | Untitled, gouache on paper, 58.7 x 49.0 cm, signed l.r. and dated '72

Anton Rooskens

watercolour • drawing • for sale

Untitled, 1972

Armando Bergallo | The three Graces, oil on canvas, 133.0 x 113.0 cm, signed l.r.

Armando Bergallo

painting • for sale

The three Graces

Gabriella Possum Nungurrayi | Milky Way Dreaming, acrylic on canvas, 116.2 x 39.3 cm, signed on the reverse and painted in 1988

Gabriella Possum Nungurrayi

painting • for sale

Milky Way Dreaming, 1988

Anton Heyboer | The mowers, acrylic on canvas, 80.0 x 110.0 cm, signed on the reverse

Anton Heyboer

painting • for sale

The mowers

Maggi Giles | Striped block, earthenware, 61.0 x 22.0 cm, signed on the bottom and datiert 1981

Maggi Giles

statue • sculptuur • for sale

Striped block, 1981

Eugène Brands | Mysterious Universe, oil on canvas, 55.0 x 70.5 cm, signed l.r. and on the reverse and dated '71 on the reverse

Eugène Brands

painting • for sale

Mysterious Universe, 1971

Theo Wolvecamp | Compostion in Blue, oil on canvas, 74.4 x 79.7 cm, signed on the reverse and painted ca. 1949

Theo Wolvecamp

painting • for sale

Compostion in Blue, ca. 1949

Willem Hussem | Composition, oil on canvas, 113.0 x 130.0 cm, signed on the reverse and dated '58 on the reverse

Willem Hussem

painting • for sale

Composition, 1958

Gijs de Mol van Otterloo | Untitled, acrylic on canvas, 100.0 x 100.0 cm

Gijs de Mol van Otterloo

painting • for sale

Untitled

Lucebert | Three creatures, four eyes, pencil, chalk, watercolour and oil on paper, 50.2 x 70.0 cm, signed l.l. and dated '89

Lucebert

watercolour • drawing • for sale

Three creatures, four eyes, 1989

Herman Brood | Inderdaad, nee (Indeed, no), oil on canvas, 50.1 x 60.1 cm, signed l.c. and dated 1992

Herman Brood

painting • for sale

Inderdaad, nee (Indeed, no), 1992

Eugène Brands | Attack the darkness of the universe, gouache on board, 40.0 x 49.3 cm, signed on the reverse and dated 7 VIII 1998

Eugène Brands

watercolour • drawing • for sale

Attack the darkness of the universe, 1998

Armando | Kopf, oil and bitumen on canvas, 79.9 x 100.3 cm, signed on the stretcher and dated on the stretcher 21-10-89

Armando

painting • for sale

Kopf

Wim de Haan | Untitled, oil on canvas, 70.1 x 70.3 cm, signed on the stretcher and dated on the stretcher '56

Wim de Haan

painting • for sale

Untitled, 1956

Jan Stekelenburg | Horse race, oil on board, 16.2 x 44.1 cm, signed l.r.

Jan Stekelenburg

painting • for sale

Horse race

Wim de Haan | Untitled, oil on canvas, 80.0 x 110.5 cm, signed l.l. and dated '55

Wim de Haan

painting • for sale

Untitled, 1955

Wim de Haan | Untitled, oil on canvas, 90.1 x 100.4 cm, signed l.l. and dated '55

Wim de Haan

painting • for sale

Untitled, 1955


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