Gijs Assmann | Marlies Appel | David Bade | Merina Beekman | Simon Benson | Dineke Blom | Marcel van Eeden | Otto Egberts | Helen Frik | Rosemin Hendriks | Tjibbe Hooghiemstra | Nour-Eddine Jarram | Natasja Kensmil | Juul Kraijer | Ronald Noorman | Erik Odijk | Roland Sohier | Elly Strik | Dieuwke Spaans | Juliette Tulkens | Piet Tuytel | Hans de Wit

Arno Kramer

Introduction  1|2|3|4  Of course, work on paper could often be seen in galleries, but exhibitions at the end of the eighties and nineties were more substantial in the so-called Ďartistsí initiativesí such as A Priori in Makkom in Amsterdam and 101 tekeningen in the Begane Grond in Utrecht in 1997. In 2003 the TEKENEN DES TIJDS (Signs of the Times) exhibition in Den Bosch offered another review of the current state of affairs with regard to figurative drawing. In 1990 I was asked to display a personal choice under the title Signatura for the Stichting Archipel (Archipel Foundation) in Apeldoorn. This presentation formed the beginning of a series that I have compiled at various places and in different capacities over the years. In 1995 there was XL Tekeningen van formaat (XL Drawings of format) at Artis in Den Bosch, in 1999 Sense of Drawing, and in 2002 Inside Drawing at Nouvelles Images in The Hague. A second version of Sense of Drawing was presented in Galerie Gist in Brummen in 2002. The fact that there have been relatively few exhibitions specifically for drawings is probably related to the fact that people do not readily commit themselves to drawing as a singular, independent discipline. Many artists do create work on paper, work that one could refer to as drawings, but nevertheless, the emphasis in their oeuvre lies on painting or sculpture.

Art education is probably partly to blame for the reduced interest for the more autonomous development of drawing as a form of art expression. In the sixties, seventies and eighties, consistently less attention was paid to more traditional drawing methods. It is only in the last ten years or so that the importance of drawing seems to have been recognized once more, although there is no specialist Drawing department in any of the art colleges in the Netherlands. The discipline is almost always linked to the Painting department. In 2006, the AKI Akademie voor Beeldende Kunst en Vormgeving (AKI Academy for Visual Art and Design) in Enschede will probably start up a special Drawing department. Besides functioning as a form of notetaking, drawing is important in learning to see reality better. >