Page 135 - (DK Eyewitness) Travel Guide - The Netherlands
P. 135
MUSEUM QU AR TER 133
Dancing Woman (1911)
Ernst Ludwig Kirchner (1880–1938) was VISITORS’ CHECKLIST
inspired by the primitive art of African and
Asian cultures, and by the natural qualities Practical Information
of the materials he worked with. Museumplein 10.
Map 4 D3. Tel 020-5732911.
∑ stedelijk.nl
Open 10am–6pm daily,
10am–10pm Thu.
& ^ 7 0 =
Transport
v 2, 3, 5, 12, 16.
. Kazimir Malevich
(1878–1935)
The Russian visual artist
Kazimir Malevich can be
counted, along with Piet
Mondriaan, as one of the
Man and Animals (1949) founders of abstract art. As
Karel Appel (b. 1921) was a member of the well as paintings, Male vich
short-lived experimental Cobra movement created posters, sculptures,
(see p193). The human figure, dog fish and furniture, interior decoration
mythical creature are painted in the naive and costumes.
style of a child. After studying Futurism
Elaborate and Cubism in Moscow, he
bell tower formulated a new art form
called Suprematism, an
abstract movement known
for its experimen tation with
colour. Suprematism’s central
element is the theory of
unlimited pre-eminence of
free invention in the artistic
process. Up until his 20s,
Malevich painted abstract
geometric forms. The square
was his “supreme element”.
The Stedelijk Museum
owns the largest part of the
paintings and sketches from
Malevich’s Suprematist period.
Jan van der Heyden Jacob van Campen One of the most important
(1637–1712) (1595–1657) works, Suprematisme 1920–
1927, was defaced by a visitor
to the museum in 1997.
Thomas de Keyser In 1999, a conflict arose
(1596–1667) between the Malevich estate
and the Stedelijk Museum over
the ownership of the dozens
of Suprematist works from the
Stedelijk’s collection.
Untitled (1965)
Jasper Johns (b. 1930) believed viewers should draw their
own conclusions from his work. This huge canvas, with its
bold rainbow (red, blue and yellow streaks and slabs), invites Self-portrait by Malevich
the viewer to think about the symbolism of colour.
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