January 29 to May 15, 2022 (half of the large hall)
Presentation of recent collage paintings and artist's books by Dianne Bakker (1958). In her work, paradisiacal landscapes form the backdrop for usually gruesome scenes, in which power relations and sexual abuse are central. Her work constantly moves between beauty and horror, seduction and voyeurism.
January 29 to May 15, 2022 (half of the large hall)
Exhibition of paintings by Isabella Werkhoven (1969). Werkhoven finds her inspiration in urban landscapes – sports parks, public gardens, etc. – that have been abandoned by people. She captures them when the first twilight falls and nature is shrouded in mystery.
'Places change through Werkhoven's painting skills into dreamlike images that can easily degenerate into something dark or fairytale-like,' wrote Wieteke van Zeil in the Volkskrant.
April 9 to August 21, 2022 (in two cabinets)
No time loss, the compelling biography by Jolande Withuis about the eventful life of Jeanne Bieruma Oosting (1898-1994), was recently published. In 2022, her work will be the focus of no fewer than five different exhibitions during the Summer of Jeanne, which will last from April 9 to August 21, 2022. Museum Belvédère will then highlight works linked to her Frisian childhood and show the groundbreaking graphics from her Parisian period. There will also be a themed edition of the museum magazine MB, with texts by Susan van den Berg and Jolande Withuis.
For Jeanne Bieruma Oosting, born in the wealthy environment of Frisian nobility and patriciate, a career as an artist was not an obvious choice.
She was curtailed by the conventions of her time, class and gender, but nevertheless fought her way free. In her long career she has created an oeuvre that is as extensive as it is versatile, including oil paintings, watercolors, graphics and works on paper.
Although she is now best known for her colorful interiors, still lifes and landscapes in an accessible late-impressionist style, the artist also knows another side, characterized by dark themes and macabre depictions. This work arose during her Paris period (1929-1940), when her development as a person and as an artist accelerated. She gave herself up to the nightlife, became acquainted with (lesbian) love and produced liberal nudes that were hardly shown in the Netherlands at the time because they - certainly for a woman - would be too spicy. This series of Chairs from 1931 will be on display as a whole in the Museum Belvédère presentation. The series is part of a large private donation with graphic works by Jeanne Bieruma Oosting that the museum received.
In the presentation – which comprises two cabinets – paintings will also be shown, but there will also be usage graphics such as ex-libris, illustrations and book covers. Photos and documentation will provide context.
Summer of Jeanne
Museum Henriëtte Polak in Zutphen is compiling an extensive biographical exhibition based on Withuis' research. Museum Maassluis, which owns a great deal of Oosting works, presents an exhibition about her many travels. Nobilis - the center for printmaking in Fochteloo has the subject of Jeanne Bieruma Oosting and her friends, with work by Otto B. de Kat and Theo Kurpershoek, among others. Museum STAAL in Almen, the village where Oosting lived for forty years, sheds light on her position in village life and shows the many works of this illustrious fellow villager that Almen have hung on the wall.
28 May to 20 September 2022 (main hall)
With the exhibition Living the landscape – Barbara Hepworth, Ben Nicholson and the artists of St. Ives 1939-1975, Museum Belvédère is the first museum in the Netherlands to pay attention to a special chapter in the history of modern art in Great Britain.
World-renowned artists such as Ben Nicholson and Barbara Hepworth turned the picturesque coastal town of St. Ives in Cornwall into a dazzling international arts center. The many artists who settled there for a short or longer period of time were mainly inspired by the age-old landscape, the sea and the connection between the local population and its environment. Far away from the big art centers and current developments, they found a personal style tailored to light, land and space.
In contrast to urbanized areas in the Netherlands, the north largely derives its identity from the landscape, which is primarily a cultural landscape; a combination of nature, agriculture and habitation.
Cornwall occupies a similar position in England. The Cornish also feel more than averagely connected with the landscape in which they live. At a time when landscape is primarily captured in figures by policymakers, Museum Belvédère hopes with Living the landscape to contribute to the realization that a landscape is not the sum of clouds, grass and trees, but a living environment of which people are part. Whoever touches the landscape touches the people. That is exactly what this exhibition attests to. The exhibition features work by Barbara Hepworth, Patrick Heron, Ben Nicholson, Alfred Wallis and others.
The initiator and guest curator of the exhibition is art historian Feico Hoekstra (1967). As a freelance exhibition maker and writer on art, he works for various Dutch museums, including
Museum de Foundation in Zwolle, Museum MORE in Gorssel and Beelden aan Zee in The Hague.
He has made exhibitions and publications on William Turner, Jan Voerman, Alberto Giacometti, Paul Citroen, Euan Uglow, Germaine Richier and Elisabeth Frink, among others.