Nietzsche’s suitcase…

SdelleBattistine

Salita delle Battistine 8 (interno 6),
where Nietzsche lived in Genoa.

detail

centro storico (detail, surroundings of
8 Salita delle Battistine, Genova)
149-delig 2007
o.i.inkt/nietjes op museumkarton 275x500x15cm.

“When I was in Italy last winter and in the high mountains
of Genoa, I studied Gallwitz’s book on Nietzsche;
in the course of my meditations I was seized by the desire
to discover where the solitary thinker had lived
during his stay in that same city in 1882.
So I wrote about this matter to his sister,
Frau Dr. Elisabeth Förster-Nietzsche, and after some time
received a cordial, satisfactory answer.
However, I was no longer in Italy when the letter arrived,
so that it was impossible for me to personally visit the lady
in whose house Nietzsche had once resided to give her
in person the present which Frau Dr. Förster had intended for her.
Yet although I was far away from the edge of the Ligurian Sea,
through the kind offices in Genoa of Mr. Theodor Blum,
a nephew of the great Robert Blum, I succeeded after
a long search in locating our philosopher’s former landlady
and establishing the (necessary) connection with her.
And now the following thing happened:
Carlotta Bianchi – that is the landlady’s name – still had
a suitcase of her former renter’s from the time
when Nietzsche had lived there.
She had kept it faithfully and not forgotten to save
its contents, namely two not insignificant manuscripts
and a professorial diploma of the philosopher’s.

inkijk
carlotta
Now, very understandably she expressed the wish to be allowed to keep the suitcase as a memento of her ‘piccolo santo’, as she called Nietzsche;
and Frau Dr. Förster, who for years has been managing all her brother’s affairs, later gladly granted her this request – just as she also in a most friendly manner offered me the right to keep
the original of the diploma
until my death.
But for the good Italian lady, the other items could hardly
have had any value and so they came
into my possession for the moment.
Because they did not rightfully belong to me either,
I soon informed Frau Dr. Förster of the remarkable discovery.
She was very pleased, asked me to send her the manuscripts
and also invited me to visit her and the Nietzsche Archives.
So I came to Weimar.
Frau Dr. Förster herself met me at the station
and rode with me through the streets of the venerable city
– toward the villa where she has now been living with her brother
for two years, caring for him splendidly and unselfishly
and observing from a high tower with a sharp eye
the waves which Nietzsche’s thoughts have long been
causing in the sea of human life.”

Walter Jesinghaus, Summer 1899
(from: Conversations with Nietzsche.
A Life in the Words of His Contemporaries.
Sander L. Gilman. Oxford University Press, New York/Oxford)

cascatad'acqua

centro storico (detail),
with the Villetta di Negro’s Waterfall,
opposite the Salita delle Battistine, where Nietzsche stayed in 1882.
zie: Dooiwind
149-delig 2007 o.i.inkt/nietjes op museumkarton
275 x 500 x 15cm.

zie: Salita delle Battistine 8 Genova
zie: jenseits/diesseits
zie: Genua citaten
zie: Genova on my mind…
zie: cascata d’acqua
zie: Young Nietzsche

Hieke Luik

There’s kinship in our work…

HiekeLuik
Blossoming 2009 brons 13 x 18 x 11 cm
Hieke Luik

Dramatisch, poëtisch, sterk en teder,
schaduwtekeningen kiezen het luchtruim.
Tastbaar aards:

blossoming

Blossoming 2009 brons 13 x 18 x 11 cm
Hieke Luik

Op 18 september 2009 om 17.00uur vindt de onthulling plaats van het beeld:
De Trittai” van Hieke Luik

“De Trittai” staat op een sokkel bij de vijver, hoek Moeflonstraat / Kennedylaan in Apeldoorn, waar voorheen het beeld ‘De Drie Gratiën’ van Zadkine stond.
zie blog Hieke Luik: http://www.hiekeluik.blogspot.com/

zie ook: The estate of Eva Hesse

Verwant:

handschrift

Foxgloves, ripeness and deterioration (detail) 2009
Marjolijn van den Assem
potlood op papier 93x61cm elk

zie: Noëlle Cuppens
zie: Splash!
zie: Nieuwe beelden klaar!

Rosa pimpinellifolia (thorny)

pimpinellifloria

The rose hip and rose haw, is the pomaceous fruit of the rose plant, that typically is red-to-orange, but might be dark purple-to-black in some species. Contrary to the fairly common myth, rosehips are not poisonous.

stekels

De duinroos (Rosa pimpinellifolia) voelt zich thuis op zonnige plaatsen op droge, matig voedselrijke, zwak zure grond.

De bloemtakken zijn over de gehele lengte bezet met grotere en kleinere stekels en met naaldvormige stekels.

Rozenbottel: rijpe gezwollen bloembodem bij het geslacht Roos.
Rozenbottels zijn donkerbruinachtig paarse of meer zwarte vlezige bloembodems met daarin de nootjes-achtige vruchten.

pimpinellifolia

Rosa Pimpinellifolia with rosehips  2009 grafietstift op papier 92x61cm

zie: Purple Foxglove
zie: More Foxgloves
zie: Foxgloves and Snapdragons/ ripeness and deterioration
zie: The story of life
zie: Smilax(Struikwinde)
zie: potlood op papier

@Omasaurus

Omeisaurus, in Dutch: Omasaurus (zie: @Omasaurus)

Most skeletons of Omeisaurus were found in the 1970s and 1980s,
during the great “Chinese Dinosaur rush”.
There have been seven species of Omeisaurus named so far:
O. junghsiensis, O. changshouensis, O. fuxiensis,
O. tianfuensis, O. luoquanensisO. maoianus and O. ma(rjolijn).
All of these but the last were named after
the locations where they were found.

Like other sauropods, Omeisaurus was herbivorous and large.
It measured 10 to 15.2 metres (30 to 50 ft) long,
4 metres (12 ft) high and weighed 4 tons.
It had the typical bulky body and long neck
of other dinosaurs in its suborder.
Unlike many sauropods, however,
its nostrils were located close to the end of its nose.
The back of the Omeisaurus was higher at its hips
than at its shoulders.

on the left:  Fingerprint* of an Omasaurus?
on the right:  The last Omasaurus (?) spotted in the bushes…

There’s a rumour going on that
only one Omasaurus survived and she’s on Twitter!
zie: Omasaurus (Twitterae)

*étude des sources (7) 2006 30x23cm. potl./streling
op museumkarton collection: Musagète Amsterdam
zie: Seelenbriefe

Meta von Salis in Sils

Zie: Lago di Cavloggio
zie: Lägh da Cavloc

kaartsils
Youtube video:
The Nietzsche Haus At Sils-Maria, Switzerland

“The summer was extraordinary hot.
Even up there so close to the boundary of the eternal snows,
one preferably stayed in the house at noon.
The wild flora were more luxuriant than ever:
the large, white chrysanthemums lined the meadow path
on the peninsula; between Isola and Sils the underbrush shone
with alpine roses; further up on the swampy mountain meadows
the aromatic brown nigritellas gleamed between
the silver-haired and wool-grasses and dryads
and saxifrages mocked the life-hostile stones.
The two hotels were full of guests and almost every family
in the village had rented rooms.
We were housed in a stately house in the Engadine
this side of the bridge over the Fex Brook
and right next to the Fex Valley road.
The front stairs and windows were full of flowerpots,
cared for by the landladies with undaunted diligence
through the harsh winter.
Here too the splendid sun brought super-abundant rewards,
every pot was filled with blossoms.
A rosebush especially bore two roses of a perfection in form,
color and aroma, such as is not found among its
more favored brothers in the valley.
Nietzsche sometimes stopped to look at these super-roses,
these children of the heights,
of the pure air and proximity to the sun.
Nietzsche lived in the same house as before,
across the bridge and came over to see us
almost every morning and sometimes also in the afternoons,
when the weather was beautiful and the heat moderate,
to take us for a walk; otherwise,
for an intimate conversation in our room.”
zie: “Here my muses live”
zie: The ice is near

SilsMaria
Am Weg nach Sils…
(from: Nietzsche. Ivo Frenzel – Rowohlt Monographien)

Nietzsche loved to “recreate” himself with me as a reprieve from his loneliness, from his work and sometimes from demanding visitors. We sat for hours in my flower-decorated room, I with some work in hand, he speaking about what he was thinking, reading, experiencing.
He liked a good listener.

Nietzsche knew how to “share joy” as few people do, and how to show it tactfully. Right after my arrival he had congratulated me on receiving my degree and expressed interest in reading the published dissertation, which, when it came out, seemed to please him, although the paper and type did not seem to meet his expectations in quality and clarity.

Nietzsche had read it (The Insulted and the Injured by Dostojevski), as he told me on an evening walk along Lake Silvaplana, with tears in his eyes. He – that is the salient poin – had condemned a whole series of intense feelings not because he did NOT have them, but on the contrary because he HAD them and KNEW their danger.

In the summer of 1887 Nietzsche was at times very cheerful and disposed to harmless jokes. He enjoyed accompanying me and my girlfriend onto the lake, allowing himself to be initiated into the skills of rowing and enjoying the slight shimmer of danger which the journey took on.

The mostly comical memories finally ended in a melancholy mood, which was expressed on the little footway down from Laret, as he recited softly to himself from the familiar song “Auf den Bergen die Burgen – Im Thale die Saale” the words “Verdorben, gestorben – Ach alle zerstreut” (Ruined, dead – alas, all dispersed). His greatest art of living was the compulsion to be joyful; it kept him, “the man of deep sadness,” alive, and it matured him for his task.

I will never forget our parting in September. The last days before my departure was a Sunday. We were walking along on the shore of Lake Silvaplana, at the foot of Corvatsch. The air had silvery autumnal tone which Nietzsche liked to call “otherworldly”. The lake was slightly agitated and the little waves, in which the rosy evening clouds were painted, ran murmuring onto the sandy shore and back again. “As if they too wanted to shake your hand in farewell,” said our companion in his melodious voice. Then, as we were walking home across a desolate stretch of field between the lake and the slope of Sils facing it, he remarked with a small sigh: “Now I am widowed and orphaned again.”

Meta von Salis-Marschlins, May 1887

(From: Conversations with Nietzsche.
A Life in the Words of His Contemporaries. by Sander L. Gilman)

“1887. Sixth summer in Sils-Maria.
Long visit by Meta von Salis, who was the first
female Swiss citizen to receive a docorate
(in history from the University in Zürich).
Von Salis and FN engage often in deep intellectual discussions.”
Nietzsche Chronicle

Meta

Dr. Meta von Salis-Marschlins in 1890
She was a feminist and a history-, Sanskrit-,
philosophy- and lawstudent
in Zürich, Berlin and München

As a tribute to Nietzsche Meta von Salis-Marschlins bought
the “Villa Silberblick” in Weimar in May 1897.
“Nietzsche’s sister Elisabeth moved with her brother
to Villa Silberblick in Weimar,
where he continued to live till August 25, 1900,
in the house of the  Nietzsche Archive, surrounded by witnesses
and documents of his budding fame,
without himself having an inkling of it”
Paul Deussen

zie: Memories of Sils Maria
zie: Nietzsche-Dokumentationszentrum
zie: Young Nietzsche
zie: Marie Baumgartner (1)
zie: jenseits/diesseits
zie: Running around in circles
zie: Reindeer/Rendiermos(s)

Memories of Sils Maria

My video’s of Sils-Maria are on Vimeo

memories

SilsMaria(1)

SilsMaria(2)

SilsMaria(3)

SilsMaria(4)

SilsMaria(5)

SilsMaria(6)

AFGEBEELDE WERKEN GESCHONKEN
AAN NIETZSCHE DOKUMENTATIONSZENTRUM
NAUMBURG(SAALE) DEUTSCHLAND
zie: Schenking/Schenkung

After my third visit (1984) to Sils Maria, Switzerland,
Nietzsche’s favorite summer-residence,
I made “reminders” to be able to remember the way I felt,
walking aroud there … and that’s exactly the way
it worked out …
zie: Nietzsche’s Meer van Silvaplana
zie: Lägh da Cavloc
zie: Reindeer/Rendiermos(s)
zie: Ins Freie

Boven:
Sils Maria-reminders/geheugensteuntjes
die nog steeds werken:

* Wandeling naar “Nietzsche’s Halbinsel”.
o.i.inkt/oliepastel/2 vastgeniette veertjes op papier.
18x17x4cm (1984/1985)
* 6 potlood-wandelingen. 10x15cm elk,
daarop een “bergachtige”, opgedroogde verfklont
26x15x2cm (1984/1985)
* 4 gestapelde o.i.inkt-tekeningen,
aan beiden zijden een “berg” (met plastic bergbeklimmers)
een draad tussen beide bergen gespannen
waaraan een getekende koorddanser hangt.
40x30x7cm (1984/1985)
* plattegrond. oliepastel/ inkt/ punaise/
ter plekke gevonden steen op karton.
14x19x4cm (1984/1985)
* twee wandelingen naar “Nietzsche’s Halbinsel”.
o.i.inkt/oliepastel/”berg” met vlag/ter plekke gevonden
steen op karton en papier.
27x10x1cm (1984/1985)
* 4 getekende wandelingen.
10x15cm elk,  foto/o.i.inkt/potlood/oliepastel/
ter plekke gevonden steen met mos op papier.
32x21x2cm (1984/1985)
* ingeniette, ter plekke gevonden steen,
o.i.inkt/oliepastel/nietjes op papier, 18x18x3cm.

kaart

zie: jenseits/diesseits
zie: Dagboekachtig
zie: inleving
zie: Meta von Salis in Sils
zie: The ice is near
zie: Running around in circles

Collections (13)

112 bergwandelingen 1985
potl./o.i.inkt/acryl op papier 122 x 92cm.
collectie Museum Gouda (via Hans Vogels)

De werken in mijn denkbeeldig archief en de collecties waarin zij zijn opgenomen zijn een steun en toeverlaat. Zij die houden van-, zich ontfermen over- en willen leven met mijn werk worden door mij dan ook op handen gedragen. Het blijft een bijzondere gebeurtenis om het werk in de nieuwe omgeving te mogen bekijken en het meestal pas dán als een op zichzelf staand iets te kunnen zien.

“…und habe Heimweh nach Ihnen gehabt”.
2004 8-delig potlood/streling op papier 30 x 23cm.elk.
Pam Kearney-collection, Mankato, U.S.A.

Some of my artworks will always be there in my imaginary archive, they “pop up” in my head every now and then, because they are dear to me.
These are the works that I want to show on my blog in the “collections”-series, as an homage to their owners.
The people who “live with” my drawings, paintings and sculptures are cherished by me, I am and will always be gratefull to them.
It is a precious experience to me when I’m allowed to take my work to its new surroundings myself, only then -it seems to me- I can appreciate it as an independent piece of art.

viacampagnano(1)viacampagnano(20
via campagnano (110) (wilde gevlekte Italiaanse Aronskelk)
2004 2-delig, olieverf op linnen 50 x 40cm elk.
collectie Victor Veldhuijzen van Zanten, Rotterdam

via campagnano (serie 2)(wilde gevlekte Italiaanse Aronskelk )
2003 acryl/potlood/nietjes op papier 52 x 78 x 22cm.
Collection Van Veelen, Akkrum.

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Le temps passe…

Wij ZIJN de tijd.

Een eerste eis en voorwaarde voor een gezonde omgang met de tijdelijkheid is waarschijnlijk: aandacht voor het ogenblik.
Weliswaar zijn wij een uitgestrektheid in de tijd, zodat we ook in het verleden en in de toekomst zijn. Maar dat zijn we steeds in een nu.
We leven nu; en als we ons het verleden herinneren of de toekomst voorstellen, doen we dat nu. Zoals elke betekenisvolle werkelijkheid slechts kan bestaan door de aandacht die ervoor wordt opgebracht – in ieder geval merken we niet op wat ze zonder onze aandacht zou zijn -, zo geldt dat ook voor de tijd.
Dat geeft aan de mens een enorme verantwoordelijkheid: zonder zijn aandacht bestaat er niets van betekenis. Zonder onze aandacht wordt de tijd verspild, verknoeid, verdaan. En zonder onze aandacht voor het ogenblik van nu, verspillen en verspelen we de enige tijd waarin we daadwerkelijk kunnen leven.

uit: Over het verstrijken van de tijd.
Paul van Tongeren. * Valkhof Pers.

letemps

Le temps passe, le souvenir reste,
le souvenir est une fleur qui ne saurait mourir…
(Que ton repos soit doux comme ton coeur fut bon)

souvenir

blauwmatisse

Henri Matisse chose a cactus bearing paddle-like stems in bloom, a symbol of endurance, the will to live, since this plant grows even in the most arid deserts to bear its flowers and fruit.
(from: Chapelle du Rosaire, Vence)

They say that “Time assuages” –
Time never did assuage –
An actual suffering strengthens
As Sinews do, with age –

Time is a Test of Trouble –
But not a Remedy –
If such is prove, it prove too
There was no Malady –

Emily Dickinson
vertaling: Louise van Santen

Ze zeggen dat “Tijd heelt” –
Tijd heeft nog nooit geheeld –
Echt lijden wordt steeds sterker
als pezen – mettertijd –

Tijd toetst hoe Zwaar het was –
Genezen doet hij niet
Doet hij dat wel – bewijst dat ook
een Ziekte – was er niet –

zie: August burning low…
zie: The Grass
zie: Tsjechof
* zie: Nietzsches vragen

Chapelle Matisse

matisse

In Vence, Zuid Frankrijk, werd ik weer diep geraakt
door de adembenemende schoonheid van
Chapelle du Rosaire van Matisse (1951).
De ramen, muurschilderingen, het meubilair,
de vloeren, de fluister-biechtstoeldeur, altaar en toebehoren,
de sprankelende kazuifels, alles van Matisse,
ieder detail doorleefd.
Vanzelfsprekend evenwichtig,
Alomvattend.

Henri Matisse wrote about his “Gesammtkunstwerk”,
la Chapelle du Rosaire in Vence, France:

“This is how simple colours can effect the innermost feelings,
their impact being all the more forceful through their simplicity.
Blue, for instance, accompanied by the radiation
of its complementary hues, affects feeling like
a vigorous stroke of a gong.
The same is true of yellow and red, and the artist should be able
to play on them as required. In the chapel,
my main goal was to find a balance between a light surface
and colour with a solid wall of black-on-white line drawing.
For me, this chapel is the achievement of an entire life’s work,
the outcome of tremendous, difficult, sincere effort.
This is not work I chose, but rather work for which
I was chosen by fate at the end of my road,
one that I pursue through my research.
The chapel provided me with an opportunity
to set it down by combining its various features.”


“One reaches the creative state through conscious work”

“Preparing the work itself means first nourishing
one’s feeling through studies representing a certain analogy
with the work; it is then that the choise of elements can be made.
It is these studies that enable the painter to give
free rein to his subconscious…
After a certain point, it is no longer up to me, it is a revelation:
all I do is give myself up.”

Henri Matisse From: Chapelle du Rosaire
of the Dominican Nuns of Vence, by Henri Matisse, Vence 1996

chapelle
Henri Matisse
Chapelle du Rosaire/Chapelle Matisse
fotografie: Michel Boutet