Thoughts on visiting some
Dutch museums
On my recent visit to the
Netherlands I had the pleasure of visiting two of my home-country’s best
museums. I gave Amsterdam a wide berth this time round, but in between seeing
family and friends we managed to visit the Gemeente Museum in The Hague, and
the Kröller-Müller Museum near Arnhem. They were most enjoyable and inspiring,
both having a large collection of early 20th Century modern painting
as well as contemporary art and, in the case of the Kröller-Müller, an
excellent sculpture garden.
The Kröller-Müller stands out
because it holds the second largest collection of Vincent van Gogh paintings in
the world, and the Gemeente Museum of The Hague holds the largest collection of
Piet Mondriaan’s (or Mondrian) radical abstracts. But besides these gems we
were able to enjoy, as happy as pigs in ****, the works of artists as diverse
as Redon, Cezanne, Seurat, Toorop, Gris, Severini, De Chirico, Léger, Nicholson
etc.
And these were just the two museums’
own collections!
I have to admit to ignoring a
small Damian Hirst exhibit in the Gemeente Museum, but what stood out for me
was that, whilst “modern” ( as in representing Western art’s journey from
literalism, historicism and romanticism to pure abstraction) there appeared to
be a focus still on aesthetics. Aesthetics (things relating to beauty) are of
course extremely difficult to define, but I think it is fair to say that
artists up to Piet Mondriaan and Malevitch and Rothko (the travelling Rothko
exhibition was a highlight of the Gemeente Museum) were very interested in
aesthetics, even if in unconventional ways.
Artists such as Duchamps,
Schwitters, Kokoschka and many more that followed had other concerns, be they
to shock, to advocate revolution, or promote reflection, but aesthetics wasn’t
their main concern. There is nothing
wrong in that, but it does feel that to be interested in aesthetics in art has
become not just circumspect in art colleges and amongst art prize panellists
but just not done. In the process the
modern art establishment runs the risk of being just as conservative as the 19th
Century know-it-alls who condemned the first independent Impressionist
exhibition.
Anyway, we enjoyed our trip
through 20th Century European art spread over two Dutch museum
enormously, and I hope it will inspire me in my practice for a long time to
come.