85. Jaap Egmond
(New York City 1913 – Amstelveen 1997)
Signed, titled, annotated D.B. and dated dec ’71 on the reverse
White painted papier-mâché relief on board, 100 x 100 cm
– Auction Christie’s Amsterdam, 26 February 2008, lot 296
– Private collection, The Netherlands
Intuition and Mathematics. This paradox could be used when characterising the art of Jaap Egmond. In contrast to the work of Jan Schoonhoven the principles of the Zero-movement were not the starting point for Jaap Egmond. Existing and develloped mathematical structures form the base of his reliefs, which might bear resemblance to the work of Schoonhoven in execution and use of materials, but his mathematical and theoretical approach, as well as his wide knowledge of art history – he publiced and lectured – position him rather between artists such as Ad Dekkers, Peter Struycken and Bob Bonies. Jaap Egmond himself commented: “If critics wanted to classify me as a member of the Zero-group it was for the wrong reasons. I admire the work of Schoonhoven greatly, the same as I do the works of Mondriaan. Neither however bases his designs on a consistent construction or rigid, pre-existing program of which size and ratio are a direct result. When choosing proportions they rely exclusively on their sense of esthetics. In my work however – whether executed in plexiglass, paper or steel – the outlines are a result of a geometricaly constructed devellopment and in complicated works by means of a mathematical program.”
We are grateful to Galerie Borzo, Amsterdam for the information provided above.