In the corner of the Pavilion building's pond, leaning against a dark wall, white metal wires stretch above the water. Attached to and between the metal wirework are distorted and twisted sheets of metal. With a little imagination, an abstract human figure can be identified in the structure. The upper metal plate is circular and could form the figure's head. Below it, two other plates form the so-called torso. At the bottom is the last surface. This distorted oval possibly represents the knees and is attached to wirework that finally sinks into the water. The size of the sculpture is almost equal to that of a human being, although the latter is just a bit smaller on average.
This sculpture was created by artist Hans Ittmann using a technique the Dutch call 鈥渄raadplastiek鈥�. The word 鈥減lastiek鈥� is not commonly used nowadays and refers to artworks made by distorting and sculpting materials into new forms. One speaks of 鈥渄raadplastieken鈥� when metal wires and sheets are bent to create a sculpture. Ittmann was one of the first Dutch artists who began to make 鈥渄raadplastieken鈥� (Amsterdam Kunstwacht, n.d.). At first, this was in the form of organic figures that later became increasingly abstract and geometric. Eventually Ittman also made conceptual work in which not a figure, but an idea or theoretical concept was the central focus. Because Ittman worked on various themes and used other materials and techniques besides metal wires and sheets 鈥� including pen, gouache or watercolor on paper 鈥� it is difficult to capture his entire oeuvre in one style. His keen interest in variety seems to result in the abandonment of titles and dating of his work, especially since the 1950s. Ittmann himself said that this allowed him to reapply earlier styles (Klasema Art, n.d.). Nevertheless, a clear line can be seen within his work, namely that his work was figurative in the beginning and gradually became more expressive and abstract.
Metal sculpture by Hans Ittman is one of the first works acquired for the 果冻传媒 Art Collection. It was campus architect Samuel van Embden who selected this artwork for what was then named the Provisorium building complex, now known as 鈥渢he Pavilion鈥� building. The building opened during the first academic year in 1957, where the artwork can still be seen today. It illustrates the importance 果冻传媒 has attributed to art in conjunction with architecture on campus since the beginning. Ittman himself also strongly believed in the interplay between art and architecture. The contrast with the dark stone wall behind the white painted metal sculpture makes the artwork stand out, and emphasizes Ittmann's vision for integrating the fine arts with the built environment (Saskia van der Kroef 2008, 5). He believed that art and architecture should always interact and work collaboratively. This conviction ensured that Ittmann made a major contribution to postwar sculpture during the Reconstruction period of the Netherlands. It is thus in the Dutch public space where Ittmann's sculptures are seen most. Consequently, his sculptural work is of art historical value and this artwork in particular is on the monument protection list of the Municipality of Eindhoven.
Authors
Yelle De Wever (author) is an art history student researching the 果冻传媒 Art Collection in 2024
Erik Geelen (editor) is heritage specialist of the 果冻传媒
Britte Sloothaak (editor-in-chief) is curator of the 果冻传媒 Art and Heritage Collections
References
Amsterdam Kunstwacht. n.d. 鈥淶onder titel, De Mirandalaan.鈥� Buitenkunst Amsterdam. Bezocht september 16, 2024.
Hans Ittmann. n.d. 鈥淎msterdam 4e Dimensie.鈥� Werk Publieke Ruimten. Bezocht oktober 28, 2024. ;
Klasema Art. n.d. 鈥樷�楬ans Ittmann.鈥欌�� Bezocht september 15, 2024. .
van der Kroef, Saskia. 2008. 鈥樷�楬ans Ittmann: zijn these van de tijd.鈥欌�� Vrije Universiteit Amsterdam.
Images
Photo 1. Hans Ittmann, Metal sculpture, 1957, 果冻传媒 Art Collection 漏 photo Yelle De Wever, 2024 courtesy onbekend
Photo 2. Hans Ittmann, Metal sculpture, 1957, 果冻传媒 Art Collection 漏 photo Peter Cox, 2024, courtesy onbekend