Lily van der Stokker

1954 · Netherlands

Artist biography

Lily van der Stokker is regarded as a well established artist, who originates from the Netherlands, like other prominent artists such as Bart Eysink Smeets, Sacha Van Dorssen, Emma Van Der Put, Kees de Vries, and David Roth. Lily van der Stokker was born in 1954.

Lily van der Stokker's Gallery representation

Lily van der Stokker's work is available for viewing at kaufmann repetto located in Milan, Italy.

Historical Context of Netherlands

The Netherlands has been recognised as an artistic and cultural centre for centuries, for instance through the international influence of celebrated artists such as Jan van Eyck in the fifteenth century. In the 1600s, the Dutch Golden Age saw the emergence of such distinguished artists as Rembrandt, Rubens, Vermeer, Van Dyck and Van Ruisdael. Dutch artist Vincent Van Gogh is considered as one of the most significant forerunners of the post-Impressionist period and is seen today as an extraordinary, unprecedented painter that has influenced the art sphere regardless of any era or movement.

At first established as a magazine, De Stijl was a movement that pioneered abstract art in the Netherlands, led by Piet Mondrian and Theo van Doesberg. De Stijl artists would espouse a visual language solely composed of geometrical shapes, and the movement also had a significant influence on modern architecture as well as design. Gerrit Rietveld was a powerful architect and designer who embraced the ideals and the essence of De Stijl in his work. Willem de Kooning was also a Dutch national, though he migrated to the United States in the earlier years of his life, and his work was predominantly influenced by the Abstract Expressionism movement prosperous in New York City in the late 1940s and 1950s.

Further Biographical Context for Lily van der Stokker

Born in 1954, Lily van der Stokker's creative work was primarily inspired by the 1970s. Conceptualism is often perceived as a reaction to Minimalism, and the leading art movement of the 1970s, challenging the boundaries of art with its revolutionary features. The movements that succeeded were all characteristic of a strong desire to evolve and consolidate the art world, in response to the tensions of the previous 1960s. Process art branched out from Conceptualism, featuring some of its most essential aspects, but going further in creating mysterious and experimental artistic journeys, while Land Art brought creation to the outsides, initiating early ideas of environmentalism. In Germany, Expressive figure painting was given another chance for the first time since the decline of Abstract Expressionism almost twenty years ago, the genre regained its prominence through the brushstrokes of Gerhard Richter, Anselm Kiefer and Georg Baselitz.

Most of the critically acclaimed artists from the 1960s, who had gained success and fame, kept their status in the 1970s. Andy Warhol was a key figure of those two decades, and in the 1970s started to experiment with film and magazine publishing, thus engaging in a cross-platform activity that no other visual artist OF his standard had previously undertaken. By doing so, he secured his status as a celebrity.

The multicultural and sophisticated position that New York city held in the 1960s remained just as influential in the 1970s. With multiple international renowned artists gravitating the galleries and downtown scene, the city once again reinforced its reputation as the artistic hub of the era.

Street art started to emerge as a true and accepted form of art towards the end of the 1970s. Jean-Michel Basquiat and Keith Haring were pioneers in demonstrating that their artworks could subsist at the same time in art galleries and on city walls. Fuelled by graffiti art, street art from its earliest days showed that it could endure in a perpetual flux of self-transformation, endlessly shifting the boundaries of modern art, becoming a truly ground-breaking artistic genre.

All over, numerous movements defined the 1970s. Amongst others, feminism and the innovative radical ideologies it entailed strongly influenced the visual culture. Photorealism, which had emerged in the 1960s, also gained critical and commercial success. The critical, prominent artistic figures of New York city started to embrace painters and sculptors from Latin America.

The Arte Povera movement, which emerged in Italy, received global acknowledgement in the 1970s, and leading figures such as Jannis Kounnelis, Mario Merz, and Michelangelo Pistoletto were critically acclaimed.

The critically engaged Mono-Ha movement, comprised of Japanese and Korean artists, flourished in Tokyo in the 1970s. Discarding traditional ideas of representation, the artists favoured an interpretation of the world through an engagement with materials and an examination of their properties. The artworks would often consist of encounters between natural and industrial materials such as stone, glass, cotton, sponge, wood, oil and water, mostly unchanged intact.

Lily van der Stokker

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