Intensely Dutch

Being both a pompous art fool and a fierce supporter slash citizen of the Netherlands, there was no way I was going to miss the "Intensely Dutch" exhibition at the Gallery of New South Wales. To Dutch-ify the whole experience, I took along my very Dutch mother. Dutch Dutch Dutch.

Featuring the works of Karel Appel, Constant and Corneille, this exhibition featured some absolutely lovely Avant-Garde pieces. Belonging to the school of CoBrA - named so after the places of origin of the movements key players (Copenhagen, Brussels and Amsterdam) - these works are colourful, lively, playful and intoxicating. Now I don't really know all that much technical stuff about art, but these paintings are so much fun.

Left, Constant 'The Animal Sorcerer'. right, Karel Appel 'Ontmoeting'

(Unsure. Corneille, I think. If you have any clues, drop me a line. xoxo)

From my limited internet research, it appears that the movement was first generated as a response to earlier censorship by Nazi Germany during the occupation. However, I don't feel any anger or exasperation from these pieces. I'd like to think that these artists were painting "despite" any censorship, rather than in "opposition"; that the optimism radiating from these works are indicative of the artist's general temperament rather than as a reactive measure. Hendrik Kolenberg, the curator of the Gallery of New South Wales, describes this personality trait as a characteristic of the Dutch people in general:

"The Dutch are a funny lot. They're very much about individuality and embracing what you want to do without fear. The Dutch have had to contend with the sea - if they don't hold it back whole towns would disappear. That's where the Dutch sense of optimism comes from, I think." http://www.timeoutsydney.com.au/arts/event/intensely-dutch.aspx

And though I thoroughly enjoyed this exhibition, I found it very odd how they set up the space. Included within the exhibition were artists such as Willem de Kooning, Bram Bogart and Gerrit Benner - all fore runners and major influences on the CoBrA artists. However, instead of placing the works chronologically, and thereby tracing the development of Dutch art and characteristics through time, the exhibition opens with Karel Appel, and works backwards. Rather than seeing a development, it now comes across as something of a (forgive me for this) regression. 

Gerrit Benner, 'Fries Landschap')

(Willem de Kooning, 'Two Trees on Mary Street... Amen!')

Not that I don't like these artists. (Too many negatives?) It is clear that these works are significant and beautiful in their own right. I simply feel that instead of seeing how the ideas are built upon over time, the exhibition shows a distinct change of pace. We begin in the excitement and splendour of CoBrA and work backwards into a more sombre world view. In my mind, art and culture should always be progressing and looking forward, anticipating the next development. And I feel that Intensely Dutch, as Intensely Good and Enjoyable as it is, tends to present the exact opposite.

This exhibition is on until the 23rd of August.

And it is awesome.

Love love,

Centine.

xoxoxo