Subject to change.
02.06 - 10.10 2012
Copenhagen, Brussels, Amsterdam, Paris, New York: Cobra is inextricably associated with major city centres. This is where the artists lived, met one another in cafés and worked in spaces they shared. They were part of the artistic avant-garde that brought colour to these cities in the 1940s and 1950s. Cobra Cities presents works from the collection, revealing the art scene of which the Cobra artists were a part.
22.09 2012 - 13.01 2013
Long-awaited homage to the Dutch-Belgian master of post-war Matter Painting
The Cobra Museum presents the finest large-scale selection of paintings by Bram Bogart (1921-2012) seen in the Netherlands for many years. Bogart felt strongly connected to great artists - including William Turner, Constant Permeke, Auguste Herbin, Lucio Fontana, Zoltan Kemeny, Bart van der Leck and Jan Schoonhoven - and major works by these artists are included to illustrate their relationship with Bogarts overall artistic development. The museum shows amongst these the only painting by William Turner from a Dutch museum collection.
The exhibition is an homage to Bram Bogart whose monumental Matter Paintings won him exceptional international fame during his long and active career. For the first time the works created in recent decades are being shown in combination with his earlier work.
The exhibition is surprisingly multifaced, with a selection of paintings from 1939 through to 2009, but with a special focus on the 1950's. Bogarts painting bears witness to an exceptional sense of colour, material and composition, with a characteristic monumentality and innovative use of paint. The works moreover reveal Bogart's transition from figurative to abstract painting. Unique film footage, historic documents and photographs present a lively impression of this 'Master of Matter'.
23.01 - 26.05 2013
In November, 1948, the Dane Asger Jorn, Belgians Joseph Noiret and
Christian Dotremont, and the Dutchmen Karel Appel, Corneille and
Constant all signed a declaration they had themselves composed. With
it, the establishment of Cobra became reality. The six artists spoke out
against an intellectual approach in their new practice of art and on behalf
of a simple principle of ‘Doing’. ‘Spontaneous creation’ from the material
itself, as well as working together, were important objectives. The joy
of total freedom and spontaneity had to offer a counterweight to the
nightmare of war.
In the Beginning Was the Image