Groningen Museum presents a thoughtful and well interpreted exhibition, the comprehensive trilingual signage is an exemplar. I presume that De Ploeg is historically significant as Netherland’s northern-most city sought to extend its reputation beyond agriculture though the wider social context is not explored. The caliber is such that one often feels De Ploeg represents keen talented amateurs rather than a ground-breaking movement.
(De Ploeg/The Plough: emblematic of the new ground to be broken.)
Groningen Museum, Tuesday 23 October 2018
Visual Arts: Fine Arts
De Ploeg artist collective was Groningen’s response to a perceived conservatism in local art. De Ploeg was most influential in its first 10-years, though still around today its style is diluted by time. This centenary exhibition presented chronologically and thematically opens with a salon-style retrospective of established portraits, landscapes and seascapes - the very work that De Ploeg rebelled against. Thus illustrating the transition to expressionism, modernism, and later cubism, as shapes are simplified and colours become darker and more emotive. Unconfined by medium De Ploeg artists seem stifled by masters such as Van Gogh in their approach to post-impressionism whilst bringing a fresh and flowing style to watercolours, etchings, prints and other paper-based work. Of particular note is the variety of work by Altink, Dihkstra and Wiegers.
Johan Dijkstra ‘Rustende zichters’ 1924, (Resting scythe reapers)
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