1959 · Netherlands
Fransje Killaars is seen as an established contemporary artist, who originates from the Netherlands, like other prominent artists such as Marc Raven, Artfolly Amsterdam, Temra Pavlovic, Dieuwke Spaans, and J le blanc. Fransje Killaars was born in 1959.
Fransje Killaars in private collections
Historical Context of Netherlands
The Netherlands has a strong heritage for art and design in the twentieth century culture, although its position as a cultural powerhouse had been long established, centuries before the fifteenth century, when artists like Jan van Eyck were amidst the most famous in the world. The Dutch Golden Age of the 1600s brought such luminaries as Rembrandt, Rubens, Vermeer, Van Dyck and Van Ruisdael.
In the post-Impressionist era, the dutch Vincent Van Gogh is considered among one of the most significant innovators, and is of course seen as one of the greatest painters of all time, regardless of the era.
Willem de Kooning is also Dutch, although he emigrated to the United States in his youth and his work is most closely related to the New York City Abstract Expressionist era of the late 1940s and 1950s.
In the twentieth century, some of the earliest examples of abstraction in the Netherlands were made under the aegis of the seminal de Stijl movement, led by Piet Mondrian and Theo van Doesberg. Gerrit Rietveld was a major architect and designer whose work is closely related to the ideas of De Stijl.
Further Biographical Context for Fransje Killaars
Fransje Killaars was born in 1959 and was primarily inspired by the 1970s. The art sphere of the 1970s was epitomized by a wish to grow and reinforce itself, as a reaction to the many conflicts of the previous decade. One of the most central movement of the 1970s was Conceptualism, which appeared as an offshoot of Minimalism, while the experimental, creative voyage of Process art materialized by combining essential aspects of Conceptualism with further reflections on art itself. The initial ideas of environmentalism sprung from Land Art, which took art into earth itself, carving the land and bringing art to the outdoors. For the first time since the decline of Abstract Expressionism, Expressive figure painting slowly re-emerged and regained its status, particularly in Germany through the works of critically acclaimed figures Gerhard Richter, Anselm Kiefer and Georg Baselitz.
The city of New York persisted as the most prominent artistic hub of the decade, with global artists wandering through the downtown scene, frequenting bars and art galleries, strengthening the idea of New York City as a cosmopolitan and refined cultural capital.
Most of the leading artistic figures of the 1960s remained highly influential and admired throughout the 1970s. Andy Warhol, for example, fortified his status as a legendary artist, by bifurcating into film and magazine publishing, thus introducing a ground-breaking concept of cross-cultural activity for a visual artist of such fame.
A few noteworthy global movements that defined the era include photorealism, which was initially introduced in the 1960s and reached commercial and critical success in the 1970s, as well as feminism which had a strong impact on the visual culture.
Artists such as Jannis Kounnelis, Mario Merz, and Michelangelo Pistoletto attained international success, as they were widely acknowledged as renowned members of the Italian movement Arte Povera, much-admired in the 1970s.
In the eastern part of the globe, Japanese and Korean artists who showed a strong interest in the European philosophy of phenomenology, associated with the Mono-Ha movement, exploring and shifting the frontiers between natural and industrial materials. Using stone, glass, cotton, sponge, wood, oil and water, they aimed to give life to artworks that would emphasize the ephemeral state of these various elements and their surroundings, playing with their interdependency.
Reaching the end of the 1970s, street art, emerging from graffiti, was starting to truly fascinate the fine art community. Keith Haring and Jean-Michel Basquiat helped legitimize spray painting and tagging, proving that their artworks could exist at the same time in art galleries and on city walls. Following, the global reach of street art would become extremely influential, representing an extraordinary form of artistic expression.