“Cruel horrific tales” – De Groene Amsterdammer

Melle, Untitled, ZJ

© Peter Cox / © 2022 Melle Foundation, c / o Pictoright

Amsterdam Artists Association The circle is 100 years old. On the occasion of the happy truth, a heavy book was published containing pictures, documents, and memories, giving the impression that everyone who wanted to suggest anything in that century was a member of it and got drunk (‘… Jennifer/Dutch Thought”, wrote Eric Wechmann). There was a Bohemian He plays pool, drinks with debt, seduces others’ wife and then hits in the mouth, only to urge the council to expel someone who cannot keep his hands to himself.You have the impression that there was little to be done in Amsterdam, especially in the post-war years, except for drinking and arguing in De Kring There were Eagles, then Reinders, then De Kring.

There he met an unknown journalist at the end of 1939, as well as literary scholars Kola Debrot, Han Hoekstra, Ed Hornick, and the poet Halbow Sea Cole (a very young captain, whose human name is not known and who always heroically dances with him. The Greatest Women). As well as Painter Mel. The latter was often at home in De Kring; He even owes somewhat of his existence as an artist to her.

Melle Oldeboerrigter (1908-1976) was a working-class kid, who grew up in Derde Wittenburgerdwarsstraat in the back of a house where six families lived on three floors. His parents were poor, but not penniless, moreover, enthusiastic and optimistic socialists who brought their children in contact with the big world as much as possible. Sunday morning there was singing and dancing. Father, mother, and young Millie sang in the choir of De Jonge Proletaar, which celebrated Domela Nieuwenhuis’ 70th birthday at the Concertgebouw in 1916. Millie seemed capable of painting at a young age. He went to graphic school and became a writer, printmaker and painter, anarchist socialist, conscientious objector, abstainer, non-smoker, and a staunch advocate of world revolution. His later girlfriend Marth Bruen recognized him in those years: “Millie had clothes quite different from the clothes of the neighbors with whom he walked. He usually wore a black shirt and loose-fitting tie, and his hair wasn’t neatly cut either. We had an open house on Zeeburgerpad and occasionally Melle would come take a look there and then a noise came into the room: This boy is a mess.

Melle designed graphics and illustrations for all kinds of anti-authoritarian magazines (and in one of them he was the royal of “Koninklijke Fokvereeniging”). In 1930 he became a print clerk in People. There he was “discovered” by journalist Lex Althoff, a member of De Kring. It is the altuv that he presents there, which begins a new life in intellectual and artistic circles and awakens art in Mille. He lets his hair grow, abandons abstinence, deliberately moves together without being married and begins painting since 1938. He and Marth—then a dancer for the avant-garde company Flori Rodrigo—taken a trip to Paris, where he met Max Ernst and learned some things from the Surrealists. This becomes his craft. In war he is in resistance. After liberation he decided to become a full-time artist.

Mile Veronica 1959

© Ton Desar / © 2022 Melle Foundation, c / o Pictoright

in September 1945 Melle displays four paintings in the exhibition art in freedom In the Rijksmuseum. one of the four Germanic, So gruesome—three baby corpses, two hanged, an arrangement of what looked like severed genitals—that shutters were placed in front of the canvas. To suppress the post-war good resonance Evening By Gerard Reeve, in which Mel appears as the “Caddy” painter. Frits van Egters was accepted by “Louis Spanjaard” into his studio, “a spacious room full of paintings”. He sees a small plaque on the mantelpiece. “This is special,” he said. The picture depicts an old woman sitting at the window, seen from the living room. “Paralysis,” he muttered. The portrait’s mouth hung crookedly, the lower lip protruding, the tongue in the cheek, slightly forward. He checked the triangular hole in the window. “How sharp, how delicate,” he thought. “It’s mind boggling.”

All this outright nudity was regularly mistaken for civilized audiences

Willem Frederick Hermanns also sees Millie’s work in that gallery and writes: paint, sure drawing pen. This is great, because young Hermann thinks that the rest of the show is not. But, he writes, “Surrealism still seems capable of new expressions.” Surrealism also produced many childish objects, such as a chair hanging upside down from the ceiling, etc.; Especially in the early period, all kinds of discoveries were presented that were little more than surprises for Sinterklaas. (…) It seems to me, however, that these Surrealists, who remained realistic in their depiction, are the most important part of the movement, especially of painting, not least because they had to think about design and precise technique. He mentions Magritte, Escher, Koch, and Millie.

Millie evolves Then to a famous artist in the capital and beyond, somewhat against odds, because artists who stick to painting often fall between two chairs in those years. He prefers not to call his work “surrealism” or “magical realism” and resists the Freudian interpretation of his paintings. He considers himself a “painter with a vision” and if it belongs anywhere he is with the greatest fantasy of all time, Hieronymus Bosch. His paintings are filled with contrasting, humorous, bush-like images – flying fish, skater owls, insects, frogs, frogs – along with a playful and fleshy kind of pornography – penises, testicles, and breasts. It sure isn’t sensual. You could tell he compares the bony and lobular barrenness of the human body with the freshness of nature, just as Bush put his people naked in the overwhelming imagination of the Garden of Eden. Indeed, Mielle lamented that the human being was not much different from that of animals, driven by the impulse to reproduce, build nests, and lay eggs. Creation is entertaining, full of dreams, but au fond tragic.

All this outright nudity regularly goes in the wrong direction with the civilized public. In 1955, the Stedelijk Museum refused to include two of the three panels selected by the jury in an exhibition marking the tenth anniversary of the liberation. one of them great Peter, Inside Amsterdam with three panels on the back wall: still-living fruit, strongly developed naked female torso, and male torso, legs spread, with frontal view of genitals. Director Willem Sandberg is forced to send Melle a polite letter saying that schoolchildren will also come to the show, and unfortunately obvious nudity is inappropriate for this. Just before the opening, he had the opportunity to present two more paintings, but according to Millie biographer Bram Kimbers, Sandberg’s refusal was the ‘point of resistance to the myth of Millie’s denial’, something Millie wore like a beggar flag. Then he refused the possibility of holding an exhibition in the Louvre. When Peggy Guggenheim rang the doorbell, he told him, “The artist isn’t home.”

Mel, God in France, 1947

© © 2022 Melle Foundation, c/o Pictoright

There is a confession Although somewhat far from popular abstract expressionism at the time. In 1953, Millie became a “practice teacher” of typesetting and typography at the Polytechnic Institute (predecessor of the Gerrit Rietveld Academy). There he later formed a “laboratory of traditional art” with like-minded people like Hermann Jordin, and Jeroen Krabi took lessons with him.

When sexual emancipation erupted in the 1960s, his status grew. He appears in the city with his striking face, old labor demeanor, and penchant for women and jinn. His house in Weteringschans would become a ‘radiant meeting point’ for the Amsterdam bohemian, in memory of Clovis Cnoop Koopmans, who married Marth Bruijn in 1955: “He could drink huge amounts of gin… and at some point he left ., then cyclist in the city and God knows where it ended.

In the end there will be greater success. A knighthood, of which the old anarchist is surprisingly proud, a party in the King’s Hall of Artes and a retrospective exhibition at Rijksmuseum Twenthe in 1968. Cnoop Koopmans stated: “The museum staff dared to do it. The prosecutor in Almelo got some nervous and called Hartswicker here in Amsterdam. (Jean-Friedrich Hartswicker, Prosecutor – Editor), He knew Mielle from Groningen. He said: By God, colleague, what should I do with this? Should it be confiscated? “Nothing, just art, don’t be afraid,” said Sugar Sugar.

This article uses Bram Kimbers. Creating Mili: Insight Realist in the World of Modern Art (Thoth, 2008). exhibition Millie – Another Reality Painter It can be seen at the Van Bommel Museum Van Damme until February 26.

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