Museum Boijmans Van Beuningen

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gutsy art from the Middle Ages to now | on Sundays we share a work from our collection | follow for updates
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Jan Frans van Dael, known as a traditional painter of flower and fruit still lifes in Paris, creates something completely different here. He probably did this for fun, because the result is an image of his own house. In retrospect, the registration of such an everyday scene turns out to have become a highlight. Has Van Dael explored and exceeded his artistic boundaries?

Jan Frans van Dael
The Painter's Residence
1828
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This drawing depicts the famous Egyptian queen Cleopatra, who committed suicide in 30 BC after the defeat of her troops by Octavian. She attempted to seduce the Roman ruler, but was rejected. Cleopatra then let herself be bitten by an adder to escape his rule. Michelangelo's original drawing is in Casa Buonarroti, Florence.

Giulio Clovio
Copy after Michelangelo's drawing of Cleopatra
1562
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Did you know that this sketch may be a preliminary study for a painting by Delacroix with the same subject from 1846? That painting is now in the Walters Art Gallery in Baltimore. Both the dramatic, moving composition and the painting style of the oil sketch are reminiscent of the works of the 17th-century artist Rubens, whom Delacroix greatly admired.

Eugène Delacroix
Crucifixion
1846
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On her birthday: a characteristic work by Charley Toorop. Her portraits are known for their psychological depth and emotional intensity. She knows how to capture her subjects in an intimate manner. During her career she worked in various Dutch and European cities, and exhibited with well-known artists at a young age.

Charley Toorop
Homework (portrait of my children)
1922
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Colour coordination across 2 by 6 metres. Mimmo Paladino’s style is characterised by bright colour blocks, stylised figures, and human elements. He loves to use different materials, because of their expressive quality. Aside from paint, Palladino used sand and papier-mâché to add texture and three-dimensionality.

The work is on view at the Depot, as part of the exhibition 'Beloved XL'.

Mimmo Paladino
Senza titolo
1980

https://www.boijmans.nl/tentoonstellingen/lievelingen-xl

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Lievelingen XL - Museum Boijmans Van Beuningen

Lievelingen XL. Hoogtepunten van groot formaat uit 175 jaar Boijmans - galerie II

Museum Boijmans Van Beuningen

Sunday oysters! In addition to sculptures, Van der Gaag made drawings and the occasional painting. This work’s title refers to a place in Italy where mysterious, prehistoric rock carvings have been found that resemble a four-petalled flower with dots on and around it. The undulating contour is recognisable in the painting, and apparently the dots have become oyster shells.

Lotti van der Gaag
Rosacamuna (Sunday oysters)
1961
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“Art is pure feeling”

Two lovers or just ordinary friends? Kokoschka expresses the duo's personalities through colour and treatment. The introvert Mardersteig, in dreamy blues with yellow accents to symbolise his inner glow. The extrovert Heise, in lively greens with busy hands. The separate portraits have been brought together in a large frame.

Oskar Kokoschka
Double Portrait of Hans Mardersteig and Carl Georg Heise
1919
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A machine from the future? In 1964 Tajiri decided to make a series of machines inspired by Formula 1 cars, jet planes and space travel. He meant them to be a protest against the large amounts of money spent by governments to wage wars. Unfortunately, due to their elegance they were often misinterpreted as glorification of the military.

'Number 8' is currently on view in Bonnefanten, Maastricht.

Shinkichi Tajiri
Number 8
1968
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A short trip with Marie-Louise von Motesiczky. During WWI, she fled to the Netherlands and afterwards England, where she became part of a vibrant community of exiled artists. She’s known for her intimate portraits and symbolic still lifes. This one has a humorous depiction of her elderly mother and companion-in-exile, Henriette.

"For me, anything with a figure, is a story” — Marie-Louise

Marie-Louise von Motesiczky
The Short Trip
1965
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The fame of Daumier’s satirical prints makes it easy to forget that he was a remarkable painter. Even his contemporaries were unaware of that, or failed to appreciate him properly, apart from a few like Corot and Degas. A caricaturist employs simplification and exaggeration. These are also found here: a washerwoman with small child takes on an air of grandeur.

Honoré Daumier
Street Scene
c. 1864
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