PORCELAIN DOUBLE PLAQUE 'Montaillou' Jan Oosterman 1985 (€ 250)

Porcelain double plaque ‘Montaillou’ 1985

Artist Jan Oosterman jr. (Blaricum 1911 – Maarssen 1996)
Dimensions 33 x 33 cm
Signed JAN
Condition good (on the right side of the upper plate a shrinkage crack is visible, which apparently was accepted by the artist – see picture 5).
Provenance from the artists’ collection

Jan Oosterman and his wife Anne Oosterman-Weijtjens left for France in 1976. The thin porcelain plaques he made in France in the 1980s were, in a sense, the continuation and culmination of the painted ‘books’ and ‘sheets’ of the 1970s inspired by poems by Bert Schierbeek.

In this porcelain plaque the historical novel “Montaillou” by E. Le Roy Ladurie was a new source of inspiration. This historical novel tells the story of medieval persecution of heretic in the South of France. The inhabitants of the mountain village, the shepherds with their flocks, their houses return to the plates over and again.

On the right side of the upper plate a shrinkage crack is visible, which apparently was accepted by the artist (see picture 5).

75 Porcelain plagues were exhibited during the exhibition “Jan Oosterman 75: recente porseleinbladen” in Galerie Amphora in Oosterbeek, March 1986.
The catalog of this exhibition has been added.

———

Porseleinen dubbelblad ‘Montaillou’ 1985

Afmeting 33 x 33 cm
Gesigneerd JAN
Conditie goed (aan de rechter zijkant van de bovenste plaat is een krimpscheur (zie foto 4), ontstaan en geaccepteerd door de kunstenaar)
Herkomst uit de collectie van de kunstenaar

Jan Oosterman en zijn vrouw Anne Oosterman-Weijtjens vertrokken in 1976 naar Rousset-les-Vignes, een dorp uit de 15e eeuw in Frankrijk.
De dunne porseleinen bladen die hij hier in de jaren tachtig in maakte, waren in zekere zin het vervolg en het hoogtepunt van de geschilderde ‘boekjes’ en ‘bladen’ uit de jaren zeventig geïnspireerd.door gedichten van Bert Schierbeek.

In dit blad van porselein vormde de historische roman “Montaillou” van E. Le Roy Ladurie een nieuwe inspiratiebron. Deze roman vertelt het verhaal van de middeleeuwse vervolging van ketters in Zuid-Frankrijk. De bewoners van het bergdorp, de herders met hun kudden, hun huizen keren telkens terug op de bladen.

Het hier aangeboden blad werd tentoongesteld tijdens de tentoonstelling “Jan Oosterman 75: recente porseleinbladen” in Galerie Amphora te Oosterbeek, maart 1986.
De catalogus van deze tentoonstelling is toegevoegd.

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.	Jan Oosterman’s first training was in garden design and painting. During the second world war he made preparations for the establishment of a ceramic studio for useful ware, which got under way in Hilversum in 1945. After it closed in 1949 he devoted himself to the making of unique pieces, under the inspiration of ceramics by Dirk Hubers. The period of the unique pieces can be divided into two phases. In the first, which runs from 1950 to 1967, Oosterman made vases and dishes in high fired earthenware, along with monumental tile pictures and, in the years 1963-1968, glass (windows, a font). Up to 1960 the pots mostly bore incised decoration. Spectacular examples are the large vase forms, sometimes fashioned by Anne Weitjens-Rosendahl (Jan’s wife), and the tile pictures decorated in the so-called ‘glaze-sgraffito’ technique, whereby lines are incised in three successive layers of glaze. Towards 1960 the vases became smaller and the decoration, now often applied with the brush, much more sober. The second phase began around 1967, when Jan Oosterman started to experiment with free forms and other ceramic materials. From then onwards he worked with stoneware clay and from 1973 onwards with porcelain as well. A certain degree of alienation is noticeable in many works of this period, for example, in the wall dishes in which doll elements are incorporated. In the very productive seventies numerous sculptures were made: globular forms ceramics ‘leaves’, ‘books’ and ‘blocks of stone’. In these Jan Oosterman achieves a great harmony between the clay, the form and the painted decoration, now mostly consisting of landscape elements, human and animal figures, bicycles, helicopters an texts. A certain atmosphere or feeling is evoked in them. This work stands at the beginning of ceramic landscape sculpture in the Netherlands. Since 1976 Jan and Anne Oosterman have lived in Rousset-les-vignes in the South of France. There they are continuing their work but using different kinds of clay and kilns (gas and wood). After years of residence in France, the Oosterman couple returned to the Netherlands in 1987. Jan immediately starts a new period. The motif of the surrounding nature, pollard willow cows, is captured on ceramics in an almost impressionistic way. The porcelain slabs from the Montaillou series are continued in slabs with abstract images in delicate brown and blue tones with a glazed edge as if it were a painting in passé-partout. Heavily painted standing surfaces and blocks are also created with dark, heavily accentuated representations of groups of people in an almost prehistoric brushwork. A radical illness strikes Jan Oosterman at the end of 1990. During a miraculous recovery Jan starts working hard again. At first he works on a number of paintings on paper with intense, bright colors. Ceramics will follow shortly thereafter. This last phase unites the work in optima forma. Jan Oosterman’s work is exceptional in that it combines ceramics and painting in a very skilful and sensitive way. A survey of his ceramic oeuvre leads to the conclusion that he can be regarded as one of the great modern ceramics. Works by Oosterman are included in the collections of the Stedelijk Museum, Amsterdam; Museum Boymans-van Beuningen, Rotterdam; Centraal Museum, Utrecht; Museum Het Princessehof, Leeuwarden, Haags Gemeentemuseum, Stedelijk Museum Schiedam and Hetjens Museum in Düsseldorf. Bron: . Jan Oosterman ‘een overzicht van zijn keramisch werk’ Stichting Keramisch Werkcentrum Heusden, 1980 . Jan Oosterman, 50 jaar keramiek, 1992

Jan Oosterman’s first training was in garden design and painting. During the second world war he made preparations for the establishment of a ceramic studio for useful ware, which got under way in Hilversum in 1945. After it closed in 1949 he devoted himself to the making of unique pieces, under the inspiration of ceramics by Dirk Hubers.

The period of the unique pieces can be divided into two phases. In the first, which runs from 1950 to 1967, Oosterman made vases and dishes in high fired earthenware, along with monumental tile pictures and, in the years 1963-1968, glass (windows, a font).
Up to 1960 the pots mostly bore incised decoration. Spectacular examples are the large vase forms, sometimes fashioned by Anne Weitjens-Rosendahl (Jan’s wife), and the tile pictures decorated in the so-called ‘glaze-sgraffito’ technique, whereby lines are incised in three successive layers of glaze.
Towards 1960 the vases became smaller and the decoration, now often applied with the brush, much more sober.
The second phase began around 1967, when Jan Oosterman started to experiment with free forms and other ceramic materials. From then onwards he worked with stoneware clay and from 1973 onwards with porcelain as well. A certain degree of alienation is noticeable in many works of this period, for example, in the wall dishes in which doll elements are incorporated. In the very productive seventies numerous sculptures were made: globular forms ceramics ‘leaves’, ‘books’ and ‘blocks of stone’. In these Jan Oosterman achieves a great harmony between the clay, the form and the painted decoration, now mostly consisting of landscape elements, human and animal figures, bicycles, helicopters an texts. A certain atmosphere or feeling is evoked in them. This work stands at the beginning of ceramic landscape sculpture in the Netherlands.

Since 1976 Jan and Anne Oosterman have lived in Rousset-les-vignes in the South of France. There they are continuing their work but using different kinds of clay and kilns (gas and wood).

After years of residence in France, the Oosterman couple returned to the Netherlands in 1987. Jan immediately starts a new period. The motif of the surrounding nature, pollard willow cows, is captured on ceramics in an almost impressionistic way. The porcelain slabs from the Montaillou series are continued in slabs with abstract images in delicate brown and blue tones with a glazed edge as if it were a painting in passé-partout. Heavily painted standing surfaces and blocks are also created with dark, heavily accentuated representations of groups of people in an almost prehistoric brushwork. A radical illness strikes Jan Oosterman at the end of 1990. During a miraculous recovery Jan starts working hard again. At first he works on a number of paintings on paper with intense, bright colors. Ceramics will follow shortly thereafter. This last phase unites the work in optima forma.

Jan Oosterman’s work is exceptional in that it combines ceramics and painting in a very skilful and sensitive way. A survey of his ceramic oeuvre leads to the conclusion that he can be regarded as one of the great modern ceramics.

Works by Oosterman are included in the collections of the Stedelijk Museum, Amsterdam; Museum Boymans-van Beuningen, Rotterdam; Centraal Museum, Utrecht; Museum Het Princessehof, Leeuwarden, Haags Gemeentemuseum, Stedelijk Museum Schiedam and Hetjens Museum in Düsseldorf.

Bron:
. Jan Oosterman ‘een overzicht van zijn keramisch werk’ Stichting Keramisch Werkcentrum Heusden, 1980
. Jan Oosterman, 50 jaar keramiek, 1992

PORCELAIN DOUBLE PLAQUE ‘Montaillou’ Jan Oosterman 1985 (€ 250)

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