For the exhibitions during the summer in Belvédère (17 June to 24 September) a surcharge of € 2,00 applies
17 June - 24 September (Museum Belvédère)
17 June - 23 October (Cultural-Historical Museum Sorgdrager at Hollum)
Island of desire (Eiland van verlangen) is on view in Museum Belvédère (17 June to 24 September) and moreover in the room for temporary exhibitions in the Cultural-Historical Museum Sorgdrager at Hollum, of the Foundation of Ameland Museums (17 june to 23 October).
Tames Oud (1895-1953) was born on Ameland and is one of the most idiosyncratic artists bred in Friesland. Apart from being an expressive artist he was a sailor, porter, glass blower, decoration painter, boxer, racing cyclist, inventor and publican.
In 1920 Oud went to live in Belgium. He studied at the Academy for Fine Arts in Brussels and found his first vocation in the arts.
In 1938 Tames Oud settled in The Hague, where the Scheveningen harbours became a major theme. His work was strongly inspired by Flemish pointillists and expressionists, but always retained its own character. In his paintings, and also in graphics and drawings Oud was in search of strong, simple shapes, choosing subjects from the day to day lives of farmers and fishermen.
There was always a permanent role for his memories of the island of his birth.
The Ameland exhibition is on view from June 17 to October 23 and focuses on paintings and work on paper that are related to the island. The exhibition in Museum Belvédère will mainly be devoted to the works with a Flemish and Dutch connection.
The richly illustrated publication 'Tames Oud – Island of Desire' was published alongside the retrospective exhibition of the same name in Museum Belvédère and in the Cultuur-Historisch Museum Sorgdrager, of the Stichting Amelander Musea .
With texts by Gitte Burgman and a foreword by Han Steenbruggen.
The retrospective exhibition and the catalog could be realized thanks to FB Oranjewoud, Boersma-Adema Stichting, de Ottema-Kingma Stichting, Stichting Gifted Art en de Stichting Amelander Musea.
17 June to 24 September 2023
The presentation Giorgio Morandi and the Netherlands is a succession to the successful exhibition Giorgio Morandi and Bologna from 2018. The presentation is organized as part of the action Buitenkans, initiated and supported by the Vereniging Rembrandt and the Turing Foundation.
The exhibition Giorgio Morandi and Bologna mainly consisted of paintings from foreign museums. In the new exhibition the accent lies on Morandi’s paintings possessed by Dutch museums and private owners. The presentation was prompted by the gift of one of Morandi’s top pieces to Museum Belvédère by a Dutch collector. This special epilogue follows exactly five years later.
In a room of the west wing the museum shows paintings by the Italian painter of still lives from the collections of:
the Stedelijk Museum in Amsterdam, Kunstmuseum Den Haag, Museum Boijmans Van Beuningen in Rotterdam, Fondation Custodia in Paris, Museum Belvédère and two private collectors.
In another museum room the museum shows work by Dutch artists who have a predelection for Morandi and were inspired by his work.
Willem Minderman, Ed Dukkers, Willem van Althuis, Agnes van Gelder, Jet van Oosten, Ada Duker and Christiaan Kuitwaard.
Giorgio Morandi (1890-1964) lived and worked in Bologna, the city he would rarely leave during his lifetime. In his work he focused on simple landscapes and everyday still life objects. Around the mid-1930s he developed his characteristic style, in which he captured grouped bottles, vases and jars – objects from his immediate environment – with loose brush strokes in soft, harmonizing colours.
By neglecting contours and by using related shades of color, he allows planes to flow into one another, he relates foreground and background to each other and puts observation to the test. His forms and form constructions ultimately arise by the grace of light-shadow, positive-negative and form-counter-form.
The austere – almost naive – way in which Morandi defines and tonally connects the still-life forms gives his paintings their great intimacy, vulnerability and tranquility.
Morandi finds his inspiration in reality, but his approach is strongly focused on the formal aspects of color, shape, surface and their mutual relationship. His work can best be described as poetic expressionism.
The richly illustrated publication 'Giorgio Morandi | The Netherlands - paintings by Giorgio Morandi in Dutch collections' has been published alongside the exhibition of the same name.
With texts by Agnes van Gelder and Han Steenbruggen, who also compiled the publication. The catalog has a dust jacket and is specially bound with a green notebook stitch.catalog
The project was realized in the context of 'Buitenkans', an action initiated by the Rembrandt Association and the Turing Foundation to enable museums to realize presentations on important loans from other public collections in the Netherlands.
The two awarded projects by Museum Rembrandthuis and Museum Belvédère were made possible thanks to support from the Rembrandt Association and the Turing Foundation.
17 June to 24 September
Close to nature reserve De Deelen, lies pumping station The Tripgemaal, since 1876 at Gersloot. In 2022, Jort and Miriam Mercuur invited artist Theo de Feyter to spend a few weeks at the end of the summer in the Tripgemaal at Gersloot, the birthplace of Museum Belvédère. In many drawings de Feyter recorded his impressions of the room and the many objects collected by Thom Mercuur, founder of Museum Belvédère. The drawings mark a farewell to a long period in which the Tripgemaal was an exhibition room and a meetingplace of artists, collectors and friends.
Thom Mercuur was the inspiring leader of the Tripgemaal for decades, followed after 2016 until November 2022 by Jort and Miriam Mercuur. Nowadays the artist Tjibbe Hooghiemstra has come to live in the former pumping station.
17 June to 24 september
The monumental architectural constructions, sculptures, sensitive drawings and staged photographs by Rob Voerman are both disturbing and seductive. They sketch a perfectly built utopian world with apocalyptic features.
A spreading but also protective world, which was destroyed but rose from its ashes.
In addition Voerman’s work has an important critical component: his central perspective is the search for alternatives, more and different points of view. In this way Voermans installations fill in a world that is not only aesthetic, but imaginary as well.