46 books for « a van laere »Edit

‎Amphora. Buletin trimestriel. Septembre 1994. N° 75. Les Monnaies antiques, médiévales et modernes du musée du monde souterrain à Han-sur-Lesse.‎

‎ 1994 In-4, broché, 48 p., nombreuses figures. ‎

‎ Très bonne condition. - Frais de port : -France 4,95 € -U.E. 9 € -Monde (z B : 15 €) (z C : 25 €) ‎

‎Adrian Ghenie, Jonathan Meese, Rinus Van De Velde: Kunst, Kunst, Kunst, catalogue Tim Van Laere Gallery.‎

‎Antwerpen , Tim Van Laere Books 2019, 2019 Bound, hardcover, 136 pages, Illustrated. 25,8 21,7 cm NL/ENG. ISBN 9789082714562.‎

‎Tim Van Laere Gallery volgt de filosofie van een artist?s gallery, waar het faciliteren en begeleiden van kunstenaars op de eerste plaats staat. Over de jaren heeft Tim Van Laere, samen zijn director Elke Segers en het TVLG team, een sterk programma uitgebouwd met een reeks memorabele solotentoonstellingen. Naarmate de ambities van de galerie en haar kunstenaars groeiden, werd het steeds voelbaarder dat de ruimte in de Verlatstraat niet meer voldeed om mee te groeien met de evolutie van de kunstenaars. Tim Van Laere droomde al langer van een eigen galerie te bouwen als losstaand paviljoen dat helemaal op maat van de kunst werd ontworpen. Die droom wist hij waar te maken via de samenwerking met OFFICE Kersten Geers David Van Severen en projectontwikkelaar Triple Living op Nieuw Zuid. De galerie opende met de tentoonstelling KUNST KUNST KUNST, een groepstentoonstelling waarbij Adrian Ghenie, Jonathan Meese en Rinus Van de Velde met elkaars visie werden geconfronteerd. Verschillende media werden getoond zoals schilderijen, sculpturen en tekeningen.‎

‎Enjoy and Take Care, Tim Van Laere Gallery expo‎

‎Antwerp, Tim Van Laere Books 2020, 2020 Gebonden, Hardcover 120 pages, 25.5x20.5cm, NL/FR/ENG. Illustrated. ISBN 9789464004038.‎

‎Enjoy and Take Care aantalIn winkelmand In maart 2020 werd ons leven op pauze gezet. Het uitbreken van de wereldwijde pandemie veroorzaakt door het virus COVID-19 dwong landen van over heel de wereld om nieuwe strategie n uit te vinden om de verspreiding van de ziekte tegen te gaan. Dit resulteerde in lockdowns, het sluiten van alle internationale grenzen en social distancing. In lijn met de door de regering vastgestelde maatregelen sloot Tim Van Laere Gallery de galerie voor het eerst sinds de oprichting in 1997 voor meer dan een maand voor het publiek. Na deze periode vond de galerie het belangrijk om het leven en de kunst opnieuw te vieren en besloot een groepsshow samen te stellen met bijna alle kunstenaars van de galerie. Hoewel reisrestricties nog steeds actief zijn, bracht deze groepsshow op een manier de kunstenaars via hun werk weer bij elkaar. De titel van de show ?Enjoy and Take Care!? versterkt dit gevoel van feest, solidariteit en samenhorigheid /// Enjoy and Take Care quantity In March 2020 our lives were put on hold. The outbreak of the global pandemic caused by the COVID-19 virus forced countries around the world to invent new strategies to combat the spread of the disease. This resulted in lockdowns, the closing of all international borders and social distancing. In line with governmental measures, Tim Van Laere Gallery closed the gallery to the public for more than a month for the first time since its inception in 1997. After this period, the gallery felt it was important to re-celebrate life and art and decided to put together a group show featuring almost all of the gallery's artists. Although travel restrictions are still active, this group show in a way brought the artists back together through their work. The show's title "Enjoy and Take Care!" Reinforces this sense of celebration, solidarity and togetherness‎

‎Last Waltz (For Leon) catalogue Tim Van Laere Gallery, Rinus Van de Velde, Kati Heck, Adrian Ghenie, Jonathan Meese en Franz West Tomasz Kowalski, Ben Sledsens, Ryan Mosley of Anke Weyer.‎

‎Antwerpen -, Tim Van Laere Books 2019, 2019 bound, hardcover, 100 pages, Illustrated., 25.8 21.7 cm, NL/ENG. ISBN 9789082714555.‎

‎In april 2019 verhuist Tim Van Laere Gallery naar het Antwerpse Nieuw Zuid. Voor de deuren van de Verlatstraat definitief dicht gaan, organiseert Van Laere er nog een laatste afscheidstentoonstelling, getiteld The Last Waltz (For Leon). De tentoonstelling is een feestelijke afsluiter van een periode van 20 jaar waarin vriendschap, kwalitatieve tentoonstellingen en plezier centraal stonden. Alle kunstenaars die de voorbije twintig jaar de ruimte mee hebben bepaald met opvallende tentoonstellingen krijgen een plek in deze expo. Zowel grote namen die de galerie mee op de kaart geplaatst hebben als Rinus Van de Velde, Kati Heck, Adrian Ghenie, Jonathan Meese en Franz West dus, maar ook nieuwe talenten als Tomasz Kowalski, Ben Sledsens, Ryan Mosley of Anke Weyer komen aan bod in de expo.‎

‎RINUS VAN DE VELDE A Life in a Day.‎

‎Antwerp, Tim Van Laere, 2023 Hardcover,158 pages, Illustrated., Quadrilingual: English, Dutch, French, Italian .FINE. ISBN 9789464004243.‎

‎Tim Van Laere Gallery presents A Life in A Day, Rinus Van de Velde's seventh solo exhibition at the gallery. In this exhibition, the artist not only presents new drawings in oil pastel, colored pencil, and charcoal but also premieres his third film, A Life in A Day, along with a selection of sculptures featured in the film.. Rinus Van de Velde's oeuvre reads like a multiverse, in which different storylines always run parallel to one another. He has already created several alter egos that allow him to appropriate different personas and explore worlds that do not (yet) belong to him. Throughout these different worlds, the constant anchor point is the artist himself. Through impersonations, constructed lies, and appropriations, he comes closer to uncovering the truth about his own identity and artistry. His latest film also mirrors this process. In his debut film, The Villagers, Van de Velde started from a predefined narrative, in which the artist himself played a small role as spectator. That narrative already evolved into a more abstract form in his second film, La Ruta Natural. For this film, the artist had a mask made in his likeness allowing one of his assistants to embody the artist?s role. This allowed Van de Velde to observe himself from a distance and portray and analyze his artistry. This same mask reappears in A Life in A Day. While La Ruta Natural?s storyline focused on the creation and destruction of his various alter egos, A Life in A Day delves into Van de Velde's artistry in a more intimate and pure way, inviting us to partake in the artist's inner process. The film opens with a very mundane scene where the artist wakes up, gets dressed, and then walks out the door with his briefcase to start his day. The motif of the briefcase plays an important role here as the depiction of a bundle of thoughts, ideas, and visualizations. It also plays an important role in the encounter between the artist and his gallerist Tim Van Laere, with the briefcase symbolising the dialogue between the two figures. After his daily activities, the artist then enters his imaginary universe, where he walks into a natural scenery. Here, in his solitude, the artist finds a moment of peace and takes his place like a pleinairist to create new work. This desire is visible in the oil pastel drawings in the first space of the exhibition, where the majority focuses on natural landscapes. Then he takes a shortcut to an underground, deeply hidden space, where we find the artist's inner vault. Within this archive, the artist meticulously organizes all his ideas, thoughts, images, and texts. This process of exploration, deepening, appropriating, and reinventing also resonates within the exhibition, where charcoal, oil pastel, colored pencil drawings, and sculptures are showcased. All of these works speak volumes about the artist: about his ambitions, doubts, concerns, his moments of happiness, but also of loneliness, frustration, and sadness. The predominance of the artist's personal voice in all his works makes it possible for him to appropriate any style, without losing his own identity in it. Works by Picasso, Van Gogh, Ensor, Matisse, Armen Eloyan, and Alfred Wallis are unmistakably redirected to a Rinus Van de Velde. The fact that the artist looks a lot to his predecessors and also immerses himself completely in their work is also portrayed in his latest film, in which he defies gravity while climbing through a hatch into a swimming pool that refers to David Hockney. In this scene, too, Van de Velde appropriates the pool by the simple act of washing out his brushes in the pool, resulting in a transformation of the water?s hue. Rinus Van de Velde (b. 1983 in Leuven, Belgium) lives and works in Antwerp. Work by the artist is in several international collections, including S.M.A.K. (Ghent), M HKA (Antwerp), Royal Museums of Fine Arts of Belgium (Brussels), CAC (Malaga), Kunstmuseum Luzern (Lucerne), FRAC des Pays De La Loire (Nantes), Museum Voorlinden (Wassenaar), Kunstmuseum (The Hague), AZ Artgestion Collection (Bilbao), Kunsthalle Sao Paolo (Sao Paolo), KWM Art Center (Shangai), KPN Art Collection (Netherlands), Stad Antwerpen (Antwerp), Erasmus University (Rotterdam), Belfius Art Collection (Brussels) and Colleccion Solo (Madrid).‎

‎Aaron van Erp.‎

‎Antwerp, Tim Van Laere Books 2012, 2012 Hardcover, ongepag (ca 90pp.); 25.5x20.5cm., doorlopend geillustr. in kleur, nieuwstaat.‎

‎10 may - 30 june 2012. Interview in het nederlands van Aaron Van Erp door Tim van Laere.‎

‎Franz West (Tim Van Laere Gallery) Tim Van Laere, Interview Franz West by Andreas Reiter Raabe‎

‎Antwerpen -, Tim Van Laere Books , 2017 Bound, Hardcover, 96 pages, Illustrated. NL/ENG. ISBN 9789082714531.‎

‎The catalog to the third solo exhibition by the internationally acclaimed Austrian artist Franz West ( 1947, Vienna 2012, Vienna) at Tim Van Laere Gallery. West is without doubt one of the most important sculptors and environment artists of contemporary art. His oeuvre is characterized not only by the forms he invents, but also for the communicative quality with which he directly addresses the viewer, urging him/ her to participate. The exhibition brings together various aspects from the broad oeuvre of Franz West. Both collages, sculptures from papier-m ch , plaster and polyester, furniture, an outdoor sculpture in aluminium and installations from different periods of his career are shown. In the mid-1970s, West made his so-called Pa st cke (Adaptives), movable sculptures made of plaster and metal that were intended to be moved, touched, and handled ? transforming viewers into participants. For West, the essence of the artwork is not the aesthetic quality, but how the work is used. These objects stimulate the ingenuity of the public and disrupt conditioned behavior in the exhibition space. From the 80s, he incorporated more fragile materials, such as papier-m ch and glass bottles in his sculptures, which he combined in the Labst cke (Refresher Pieces). As a consistent continuation of the Pa st cke, West has been working since 1987 to construct furniture for sitting and reclining, using prefabricated elements and discarded industrial products which he covered by stretching fabrics or carpets over them. His work makes us think about our living space and the social and personal activities that are happening there. The artist aims to create a certain interaction between artwork and viewer, between object and subject. An interaction that must ensure that art becomes an open and interactive process. Later in his career, Franz West also focuses on sculptures in the public space. In fall 2018, a major retrospective will open at the Centre Pompidou, Paris, and will travel to the Tate Modern, London the following year.‎

‎Friedrich Kunath , Where is the Madness that You Promised Me; catalogue Tim Van Laere Gallery, 2018‎

‎Antwerpen -, Tim Van Laere Books 2018, 2018 Bound, Hardcover, 96 pages, Illustrated. 25,5 21,5 cm NL/ENG. ISBN 9789082714548.‎

‎Friedrich Kunath's werk is doordrongen van ambigu teit. Zijn werk is be nvloedt door de cultuur van de wijsheid en de populaire cultuur, tot het punt van obsessie en soms zelfs systematisering. Zijn persoonlijke reis van Oost- naar West-Berlijn, naar zijn nieuwe thuis in Los Angeles, presenteerde Kunath met een breed scala aan bronnenmateriaal, vari rend van de canon van de kunstgeschiedenis en de Duitse filosofie tot het idioom van de kitsch en de make-believe wereld van Hollywood en Los Angeles. Kunath?s werk gaat over de universele thema?s van het menselijk bestaan, zoals liefde, verlies, optimisme, kwetsbaarheid en melancholie. Zijn oeuvre omvat verschillende media, van schilderen, beeldhouwen, tekenen, video en fotografie tot uitgebreide installaties, allemaal voorzien van een tragikomisch pathos en dromen over mogelijkheden. In bijna elk werk is het besef voelbaar dat de wereld een schouwspel is van onvervulde dromen, waarin de rauwheid van het leven wordt ontvlucht via het parallelle universum van de populaire cultuur. Zonder zich vast te houden aan oppervlakkige humor, maakt Kunath gebruik van het groteske en uitvergrotingen in zijn werken. Zijn sculpturen, schilderijen of gedetailleerde tekeningen en karikaturen zijn geen onschuldige grappen, maar eerder ambigue metaforen voor het heden. Hij onderzoekt de vraag naar zelfpositionering binnen het kader van verschillende culturele invloeden met de nodige ironie. Zijn werken ondergraven ingesleten beeldtradities en conventies en verbinden het schijnbare onverenigbare zoals humor en melancholie, narratie en abstractie of fictie en realiteit.‎

‎begon in Vlaanderen. tekeningen en illustraties van Van Laere.‎

‎Antwerpen, Nederlandsche Boekhandel, 1961 , softcover, 12 pagina's en 30 pagina's met volblad afbeeldingen deels in kleur.‎

‎overzicht der kunstwerken van kunstenaar Van laere.‎

‎Marcel Dzama: The Moon is Following Me.‎

‎Antwerp, Tim Van Laere Books 2021, 2021 Hardcover 240 pages, NL/ ENG / FR text. 21x26cm ISBN 9789464004069.‎

‎Marcel Dzama: The Moon is Following Me. Marcel Dzama (1974 Winnipeg, Canada. Lives and works in New York) has developed an immediately recognizable visual language that investigates human action and motivation, as well as the blurred relationship between the real and the subconscious. Drawing equally from folk vernacular as from art-historical and contemporary influences, Dzama?s work visualizes a universe of childhood fantasies and otherworldly fairy tales. Dzama?s image repertoire includes a wide range of art-historical quotations. One can recognize ballet costumes by Oskar Schlemmer or Francis Picabia, for example, and direct references to Francisco de Goya, Marcel Duchamp and Joseph Beuys. However, it?s not just elements from the past that spur Dzama?s creativity. The music enthusiast has collaborated with various colleagues from the beginning of his career, whether as part of the Royal Art Lodge in Winnipeg, which he co-founded, or in the form of collaborations with Arcade Fire, Bob Dylan, Beck, Kim Gordon (Sonic Youth), the filmmaker Spike Jonze, the actress Amy Sedaris, the ensemble of the New York City Ballet, or fellow artists like Raymond Pettibon and Jockum Nordstr m. In his work Beuys love a girl who plays guitar he brings together the artist Joseph Beuys with the country-singer Dolly Parton. For the exhibition at the Tim Van Laere Gallery he started a series of drawings with more hopeful themes, more serene. Because the Trump years were so traumatizing.? says Marcel Dzama. ?Also I usually either do political drawing or I go for this kind of vacation feeling. Almost idyllic. A lot of them are based on photographs taken of my son and wife on vacation. I am still playing with this.‎

‎Marcel Dzama Wild Kindness‎

‎Antwerp, Tim Van Laere Books 2024, 2024 Hardcover 224 pages, NL/ ENG / FR / IT text. 21x26cm fine. ISBN 9789464004304.‎

‎Marcel Dzama: The Moon is Following Me. Marcel Dzama (1974 Winnipeg, Canada. Lives and works in New York) has developed an immediately recognizable visual language that investigates human action and motivation, as well as the blurred relationship between the real and the subconscious. Drawing equally from folk vernacular as from art-historical and contemporary influences, Dzama?s work visualizes a universe of childhood fantasies and otherworldly fairy tales. Dzama?s image repertoire includes a wide range of art-historical quotations. One can recognize ballet costumes by Oskar Schlemmer or Francis Picabia, for example, and direct references to Francisco de Goya, Marcel Duchamp and Joseph Beuys. However, it?s not just elements from the past that spur Dzama?s creativity. The music enthusiast has collaborated with various colleagues from the beginning of his career, whether as part of the Royal Art Lodge in Winnipeg, which he co-founded, or in the form of collaborations with Arcade Fire, Bob Dylan, Beck, Kim Gordon (Sonic Youth), the filmmaker Spike Jonze, the actress Amy Sedaris, the ensemble of the New York City Ballet, or fellow artists like Raymond Pettibon and Jockum Nordstr m. In his work Beuys love a girl who plays guitar he brings together the artist Joseph Beuys with the country-singer Dolly Parton. For the exhibition at the Tim Van Laere Gallery he started a series of drawings with more hopeful themes, more serene. Because the Trump years were so traumatizing.? says Marcel Dzama. ?Also I usually either do political drawing or I go for this kind of vacation feeling. Almost idyllic. A lot of them are based on photographs taken of my son and wife on vacation. I am still playing with this.‎

‎FRIEDRICH KUNATH - I Remain Exhausted the End.‎

‎, Tim Van Laere Books , 2024 hardcover, 88 pages Text; English, Dutch, French, Italian, Illustrated. 26X20CM ISBN 9789464004298.‎

‎Text: Tim Van Laere in conversation with Friedrich Kunath‎

‎BRAM DEMUNTER - Burrowers, Climbers, Crawlers. ‎

‎, Tim Van Laere Books , 2024 hardcover, 112 pages, throughout colour illustrations Text in English, Dutch, French, Italian. . ISBN 9789464004281.‎

‎BRAM DEMUNTERB urrowers, Climbers, Crawlers30 November, 2023 - 20 January, 2024 INSTALLATION VIEWS WORKS Tim Van Laere Gallery presents the second solo exhibition by Bram Demunter, titled Burrowers, Climbers, Crawlers. Bram Demunter's work is about us, human beings, and about the place we occupy in the world. It is about the mythologies we shape around ourselves, the narratives and the visual cultures we create, as well as the traces we leave behind in the natural world. His paintings and drawings strongly illustrate his process of collecting, examining and categorizing different elements. The artist can spend many hours studying an object, while wondering where it came from and what history it has been gone through. These objects then manage to nestle in his subconscious, establishing new connections between obscure stories, tales, legends and myths with forgotten symbolism, which he seamlessly connects to more recent events. His oeuvre does not convey an unambiguous message, but rather weaves meanings that resonate with individual and collective memories whereby a depicted motif reminds us of countless other images. His references do not focus on specific symbols or archetypes and must not be mistaken as unequivocal allusions. In doing so, the artist emphasizes that all things can exist simultaneously and can be displayed as such. This phenomenon is clearly demonstrated in his work Turn the Mud Around, where Demunter makes use of an eclectic range of influences and sources: ranging from the late Middle Ages to the Flemish Primitives as well as the impasto of seventeenth-century artists like Rubens and Jordaens. His artistic affiliations, such as his depiction of landscapes and other scenes of nature in some of his paintings, seem to originate from Italian Renaissance painting and and are reminiscent of the sfumato technique of that period. His imagery extends far beyond classical influences; it is infused with elements of twentieth-century abstract expressionism including artists such as Philip Guston, neo-expressionist Georg Baselitz and Grandma Moses. In addition, Demunter embraces the refinement of Indian miniature art, the splendor of Persian and Indian tapestries, alongside the intimacy of Enclosed Gardens. For this exhibition, Demunter drew inspiration from obscure maps and old books, diving deep into human history in search of handed-down traces of interaction with nature. Rocks are therefore an important theme in his work, and take the form of mountains, rock formations, caves, meteorites, thereby embodying ancient symbolism. The diversity of symbols reveals the deep-rooted human fascination with nature across epochs and cultures. Instead of using maps as merely representational tools, Demunter exploits them as sources that capture the human interaction with the world. Demunter's approach is not limited to visual compositions, but extends far beyond words: each work, whether drawn, painted or written, forms an exploratory journey, which transcends time and space; his images suspend time, as it were. Bram Demunter (b. 1993, Kortrijk) lives and works in Kortrijk, Belgium. Work of the artist can be found in several national and international collections. ?‎

‎Franz West‎

‎, Tim Van Laere Books 2017, 2017 96 pagina's, kleurenillustraties, hardcover, Engels / Nederlands. ISBN 9789082714531.‎

‎The catalog to the third solo exhibition by the internationally acclaimed Austrian artist Franz West ( 1947, Vienna ? ?2012, Vienna) at Tim Van Laere Gallery. West is without doubt one of the most important sculptors and environment artists of contemporary art. His oeuvre is characterized not only by the forms he invents, but also for the communicative quality with which he directly addresses the viewer, urging him/ her to participate. The exhibition brings together various aspects from the broad oeuvre of Franz West. Both collages, sculptures from papier-m ch , plaster and polyester, furniture, an outdoor sculpture in aluminium and installations from different periods of his career are shown.‎

‎Metabolisme en kompartimentering van suikers in Avena sativa L. koleoptielen.‎

‎, Brussel, Paleis der Academien, 1977.**, Gebrocheerd, originele uitgeversomslag, 18x26cm, 60 p., 24 tab., 7 fig.‎

‎Verhandelingen van de Koninklijke Vlaamse Academie voor Wetenschappen, Letteren en Schone Kunsten van Belgie. Klasse der Natuurwetenschappen, tweede reeks, n? 142.‎

‎JONATHAN MEESE - Magazine A.R.T. IS TOTAL FAMILY-BUSINESS! AGRIPPINA=ARTMOTHERZ NERO=ARTSOLDIER(C SAREN-ROULETTE, NO PROBLEM, YEAH)‎

‎Antwerp - Rome, Tim Van Laere Gallery, 2024 softcover, 104 pages, Quadrilingual: English, Dutch, French, Italian.‎

‎JONATHAN MEESE - Magazine A.R.T. IS TOTAL FAMILY-BUSINESS! AGRIPPINA=ARTMOTHERZ NERO=ARTSOLDIER(C SAREN-ROULETTE, NO PROBLEM, YEAH)‎

‎BEN SLEDSENS - Magazine Un Nuovo Viaggio ‎

‎Antwerp - Rome, Tim Van Laere Gallery, 2024 softcover, 72 pages, Quadrilingual: English, Dutch, French, Italian.‎

‎BEN SLEDSENS - Magazine Un Nuovo Viaggio‎

‎Henk Visch : There were no empty chairs‎

‎, Tim Van Laere Books, 2021, 2021 132 pagina's, ge llustreerd, 25,5 x 20,5 cm, hardcover, Nederlands/Engels/Frans. ISBN 9789464004076.‎

‎The work of Henk Visch (b. 1950 in Eindhoven, the Netherlands; lives and works in Eindhoven and Berlin) impresses, moves and evokes a series of memories and associations. The quiet, introverted force of his works makes us pause and transports us to a new dimension that feels both familiar and strange. Henk Visch observes, researches and archives, and this has led to a well-founded knowledge of the most diverse subjects, ranging from the traditions of sculpture, literature, myths and world history to psychologies and natural sciences. This knowledge is tangible in his works, but not immediately recognizable. Like a magician, Henk Visch throws us off the track and misleads us in a playful manner that can often lead to misunderstandings. According to Henk Visch, the misunderstanding falls within the logical apparatus, but does not quite fit in. And that is what makes Henk Visch interesting. With poetic finesse and an intuitive approach, he represents his own memories and associations in different forms and materials. These materials can vary from bronze, aluminium and rebar to fake fur, synthetic hair and polystyrene.‎

‎Op grond van Sint-Trudo : de kaartenatlas van de abdij van Sint-Truiden, 1697‎

‎Sint-Truiden, 2012 231pp., geïllustreerd met oude kaarten en plannen in kleur, 2e druk, 34cm., geïll. uitgeversband, mooie staat, gewicht: 1.8kg., L114828‎

‎Johan Clarysse. This Obscure Object.‎

‎, MER - Borgerhoff & Lamberigts, 2023 Hardcover 21 26 cm, 176 pages, Illustrated. Fine. ISBN 9789464759822.‎

‎Johan Clarysse culls and paints images, unbiased, guided only by their potential for leaving a lasting impression on the viewer. To this end, imagery is assessed for its tension and contrasts, for its ability or inability to convey meaning, as well as for the presence of any unsettling enigmas. That is, drama without any restrictive narrative. Tension without any apparent curve. Clarysse?s work stands out because of its unique language, the use of soft, muted colours, its existential themes and the numerous references to the world of film, art, literature and psychology. As Clarysse himself puts it: ?Because my paintings often revolve around psychological tipping points and carry an emotional charge, I choose sober, non- primary colours. In this way, I avoid overstatement. A quality that, of course, is also decisive when writing poetry. [?] I distance myself from so-called primary colours, make a plea for what I call ?metropolitan colours, colours from the slums, shrouded in shabby coats and housed in damp rooms?. Give me Naples yellow, grey dog, sizzling ore, kinky red or Cinderella pink?? This Obscure Object presents an overview of both paintings and drawings from the last decade and seamlessly picks up where his last book Walden & other suspicions ended.‎

‎BRAM DEMUNTER‎

‎, Hannibal Books, 2023 Hardcover, 232 pages, ENG / NL / FR. edition, 320 x 255 x 27 mm, NEW / NIEUW, illustrated in colour / b/w. ISBN 9789464666748.‎

‎Kunstenaar Bram Demunter ( 1993) speelt een spel van verzamelen en onderzoeken. Hij combineert schilderstijlen, -technieken en onderwerpen uit diverse tijdsperioden en cre ert zo een geheel eigen, vernieuwende beeldtaal. In zijn oeuvre refereert Demunter aan klassieke grootmeesters als Rogier van der Weyden, Matthew Paris en de Vlaamse primitieven, maar evenzeer aan kunstenaars als James Ensor en Georg Baselitz. Zijn werk gaat over ons, de mens, en de plaats die wij innemen in de wereld, de verhalen en beeldculturen die uit ons voortkomen en de veranderingen die we teweegbrengen. Oude hi rarchie n zijn niet langer geldig, en nieuwe schakels worden gemaakt tussen het heden, verleden en de toekomst.‎

‎Genealogisch register van de abdij van Sint-Truiden‎

‎Hasselt, Provincie Limburg 1990 xxix + 261pp. + 21 platen buiten tekst, 30cm., geïllustreerde stofwikkel, beperkte en genummerde oplage: dit is nr. 52/500, in de reeks "Limburgse documenten" vol.1.5, goede staat, L82364‎

‎Limburgsch Jaarboek (Bilsen, L. Simons-J. Bellen) I-V (1892-98)‎

‎Keerbergen, Instituut voor bibliografie 1984 [xxxiv] + 26 + 46pp., 21cm., [bevat bibliografie van volumes 1 t.e.m. 5 van het "Limburgsch Jaarboek"], L100390‎

‎Marieke de Ridder‎

‎, Art in Belgium, Ohain-Lasne, 2005 Gebonden, Hardcover met stofomslag compleet.95pp. ISBN 2930338423.‎

‎prachtige illustraties in kleur buiten de tekst van de werken van Blankenbergse kunstenares Marieke De Ridder, ‎

‎Aeschylus' Choëphoren en de beide Electra's ; inleidende studie over stijl- en beeldenontwikkeling‎

‎Leuven, Katholieke Universiteit 1932 32pp., themanummer van het tijdschrift "Philologische Studiën" nr.4 jan.1932, K25938‎