New Hague School
The New Hague School consisted of three groups: Verve (1951-1957) with mostly modern-figurative art, Fugare (1960-1967) with more of an emphasis on non-figurative art and the Posthorn Group (1956-1962) which operated on the fault line between the two groups.
We see a postwar revival of painting in The Hague in particular. The Hague painters were open to the new developments in art, especially those from Paris (Ecole de Paris), after the war years of cultural isolation (foreign art was known at best from black and white photographs in art books). Many artists, such as Jaap Nanninga and Kees van Bohemen, left for Paris for short or long periods after the war. One could see there the works of Matisse and Picasso in color and in the correct format.
Verve’s work was modern figurative in nature. A common feature is the use of mostly muted colors; blue-gray, soft dark green, warm ochre rather than bright blue, poison green or harsh yellow. The Hague’s use of color is seen as more “civilized” and harmonious than what was common at the time, particularly in Amsterdam. Cobra, for example, was expressive, raw, direct, primitive, colorful and extroverted. Up there, Cobra was also much more international and therefore more outward-looking.
According to John Sillevis (1993), another common characteristic was a tendency to paint kitschy or dilapidated utensils such as old toys, chairs, etc. The penchant for painting the everyday had its roots in the realist painting of the interwar period, where and Dutch (as well as German) still lifes had a penchant for domestic and insubstantial utensils (Karin Söhngen).
As time progressed, disagreements arose between the initially like-minded members of Verve (according to Kees Andrea, this consisted of a general desire to incorporate Parisian influences, not abstractly but “from seeing.” One did not use shrill colors). This was partly due to the zeitgeist in which abstract and experimental art was gaining influence.
Fugare was formed in 1960; of the then ten members, eight came from Verve. In the founding manifesto, they declare to be “abstract, abstracting or experimental.” In Fugare, by the way, the work is still figurative. At Fugare, the lede also employs the typical Hague palette of predominantly muted and harmonious colors.
The Posthorn Group took its name from the bodega The Posthorn on Lange Voorhout; the place where Hague avant-garde art was displayed. Striving to exhibit predominantly abstract or abstracting work, in practice it was a mixture of both modern-figurative art and abstract and abstracting art. In The Hague there was less of a battle between realists and abstracts (in Amsterdam there was a fierce battle, Kees Andrea and Herman Berserik will incidentally join the Amsterdam Realists). Around 1960, The Hague had about thirty visual artists and Amsterdam sixty (Jan Cremer). According to Jan Cremer, the art climate in The Hague was characterized by diligent labor; in Amsterdam, he said, people celebrated every day. According to Cremer, The Hague’s influence penetrated as far as Paris. The Hague was the cradle of matter painting and informal art.
- Johan van den Berg 1939-
- Jos van der Berg 1905 – 1978
- Theo Bitter 1916 – 1994
- Karel Bleijenberg 1913 – 1981
- Kees van Bohemen 1928 – 1985
- Carolien Boedijn 1931
- Amélie de Bourbon 1936
- Wil Bouthoorn 1916 – 2004
- Dirk Bus (B)1907 – 1978
- Jan Cremer 1940 –
- Gerard Fieret 1924 – 2009
- Lotti van der Gaag 1923-2000
- Willem Hussem 1900-1974
- Nol Kroes 1918- 1976
- Joop Kropff 1892 – 1979
- Paul Kromjong (B) 1903 – 1973
- George Lampe 1921 – 1982
- Hans van der Lek 1936 – 2001
- Will Leewens 1923 – 1986
- Ber Mengels (B) 1921 – 1995
- Theo van der Nahmer (B) 1917 – 1989
- Jaap Nanninga 1904 – 1962
- Jan Olyslager 1926 – 2010
- Thijs Overmans 1928
- Jan Roëde 1914 – 2007
- Marianne de Ruiter 1919-1990
- Willem Schrofer 1898- 1968
- Wim Sinemus 1903 -1987
- Ferry Slebe 1907 1994
- Arnold Smith 1905 – 1995
- Meike Sund 1923
- Hiske Tas 1939
- Gerard Verdijk (B) 1934 – 2005
- Aat Verhoog 1933 –
- Joop Vreugdenhil 1904 – 1969
- Frans de Wit 1901- 1981
- Aart van den IJssel (B) 1922 – 1983
- Kees Andrea 1914 – 2006
- Hannie Bal 1921 – 2012
- Herman Berserik 1921 – 2002
- Theo Bitter 1916 – 1994
- Querine Collard,1920 – 1963
- Rein Draijer 1899 – 1986
- Jan van Heel 1898 – 1990
- Nol Kroes 1918 – 1976
- Willem Minderman 1910 -1985
- Henk Munnik 1912 – 1997
- Rinus van der Neut 1910- 1999
- Willem Schrofer 1898 – 1968
- Ferry Slebe 1907 – 1994
- Frans Vollmer 1913 – 1961
- Co Westerik 1924 – 2018
- Frans de Wit 1901 – 1981
- Hubert Bekman 1896 – 1974
- Dirk Bus 1907 – 1978,
- Theo van der Nahmer 1917 – 1989
- Rudi Rooijackers 1920 – 1998
- Bram Roth 1916 – 1995,
- Wil Bouthoorn 1916 – 2004
- George Lampe 1921 – 1982
- Christiaan de Moor 1899 – 1981
Fugare (1960-1967)
- Theo Bitter 1916 – 1994
- Harry Disberg 1921 – 2004
- Jan van Heel 1898 -1990
- Willem Hussem 1900 – 1974
- Nol Kroes 1918 – 1976
- Joop Kropff 1892 – 1979
- George Lampe 1921 – 1982
- Theo van der Nahmer 1917 – 1989
- Jaap Nanninga 1904 – 1962
- Wim Sinemus 1903 – 1987
- Frans de Wit 1901 – 1981
- Aart van den IJssel 1922 – 1983
- Christiaan de Moor 1899 – 1981
- Gerard Verdijk 1934 – 2005
