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By Klaus Beekman & Jan de Vries

Avant-Garde and feedback sheds new mild at the complicated goals, capabilities, practices and contexts of art-criticism in terms of the eu avant-garde. even if many avant-garde works and the avant-gardes of assorted international locations were analyzed, significantly much less recognition has been given to the reports in newspapers and journals on avant-garde literature, artwork, structure and picture. This quantity of Avant-Garde Read more...

summary: Avant-Garde and feedback sheds new gentle at the complicated goals, features, practices and contexts of art-criticism relating to the ecu avant-garde. even if many avant-garde works and the avant-gardes of assorted international locations were analyzed, significantly much less cognizance has been given to the reports in newspapers and journals on avant-garde literature, paintings, structure and picture. This quantity of Avant-Garde serious reports will examine how artwork critics operated in a strategic manner. The recommendations of avant-garde feedback are different. paintings critics, particularly after they are artists themselves

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Documents in this regard are kept in the archives of the NAi [Dutch Architectural Institute] in Rotterdam. 15 “Men kan over de gekozen oplossing van mening verschillen, men kan bouwkundig een ander detail prefereeren, maar steeds zal men onder de bekoring komen van de levendige, vindingrijke geestkracht die uit het werk van zijn hand spreekt”. ] Eerst scheppen. Dan construeren”. ] maar het zit in de klaarheid van geest, die met de middelen van dezen tijd een gebouw wist te zetten dat voor menschen van dezen tijd een rijkdom lijkt”.

Surprisingly, however, Stam and Schmidt also attacked in the same article two modern Dutch designs. The first one was a model of a private house [“Maison Particulière”] from 1923 by Cornelis van Eesteren and Theo van Doesburg and the second one a model of the prize-winning design for an academy of art in Amsterdam from 1919 by Jan Duiker. Although Van Eesteren and Duiker would dominate the scene of modern architecture in the Netherlands and abroad a short time after that, Stam and Schmidt did criticise also these architects who were related to them, because they wanted to warn them about the dangers of wrong tracks such as escape routes to modern forms without the foundation of clarity of structure, construction and building process.

Lensvelt (“BNA”) of the old museum ‘de Lakenhal’ in Leiden, which he described as a mutilation, a storm of protests arose. 12 At that time the only thirty-one years old architect Albert Boeken was a member of the editorial staff of the Bouwkundig Weekblad. Being an outspoken supporter of Functionalism, he was not really at home there. 13 Given the aim of the magazine to look after the interests of all of its members and not of those of a specific movement, that was not surprising. This was for Boeken a reason to withdraw from the editorial staff in 1924.

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