Rob Scholte - Screenprint: Fairytales - 2009 - Sold

Silkscreen by Rob Scholte. Title: Illustration. This work is rarely offered!. Year: 2005. Edition: 9/10. Tabletop dimensions: H120.5 x W80.5cm. Dimensions representation: H70 x W80.5cm. The work is signed at the bottom by the artist. The authenticity of this work is fully guaranteed. A certificate of authenticity can be emailed upon request.

Send/pick up:

When purchasing, the work can be picked up in 's-Gravenzande (near The Hague (Scheveningen), Rotterdam and Delft and 5 minutes from the beach). The term for collection, if paid in advance, is very long, in other words, the buyer can collect the work weeks or even months later and, if possible, combine it with a visit to one of the aforementioned cities or the beach. The work can also be sent via Postnl. Our shipping days are Tuesday and Thursday.

Robert Egbert Gerardus (Rob) Scholte (Amsterdam, June 1, 1958) is a Dutch artist.

Life and work until 1994

In his youth, Scholte lived in Castricum, Doorn, Heiloo and Egmond aan den Hoef. At the age of 17 he left his parental home through the attic window.[1] From 1977 to 1982 he studied at the Gerrit Rietveld Academy. After that he was part of the artists' collective W139, where he made his debut with Sandra Derks in 1982 with the 'masterpiece' Rom 87 (now in the collection of the Cultural Heritage Agency of the Netherlands, on loan to Museum Boijmans Van Beuningen), a series of freestyle painted variations on a children's coloring book. He would replace this style with meticulously painted works that he began exhibiting in 1984 in the newly established gallery The Living Room in Amsterdam.

In 1986 he caused a stir with the painting, Utopia (Museum Boijmans Van Beuningen), in which Manet's Olympia was quoted. However, he had replaced Olympia and her servant with wooden dolls. He turned out not to have invented this idea himself, but to have borrowed it from an obscure, accidentally found postcard. Scholte responded by painting the newspaper article in which he was accused of plagiarism, a literal quote from half a newspaper page.[2] With How to Star, a solo exhibition at Boijmans Van Beuningen, paintings from 1983-1988, Scholte received both praise and criticism. Scholte's works were shown at the documenta in 1987 and in 1990 he was allowed to furnish the Dutch pavilion at the Venice Biennale.

In 1991 he met Micky Hoogendijk with whom he started a relationship. He made her director of his company and on May 31, 1994 they got married in the RoXY house temple.

Also in 1991, Rob Scholte BV won the contract for a 1200 square meter wall and ceiling painting at the Huis Ten Bosch Resort in Nagasaki, Japan. Scholte worked with a large number of assistants on the painting entitled Après nous le déluge, about the constant repetition of war in history. It was supposed to open on August 9, 1995, coinciding with the 50th anniversary of the atomic bombing of Nagasaki, but had to be postponed due to an attack on Scholte.

From 1993 to 1999, Scholte taught at the art academy in Kassel.

Bomb attack

On November 24, 1994, Scholte and Hoogendijk got into his dark blue BMW 525i at the Laurierstraat in Amsterdam. Shortly after he drove off, a hand grenade exploded under the car. Scholte was seriously injured. Both his legs had to be amputated above the knee. Hoogendijk, who was expecting from Scholte, had a miscarriage. The perpetrator of the attack has never been found. One of the theories was that the attack was intended for lawyer Oscar Hammerstein, but that the perpetrator had made a mistake in the car. Hammerstein drove the same type of BMW, of the same color and with almost the same license plate, which was nearby.

Scholte himself initially accused a fellow artist, the photographer Paul Blanca, who lives on the fringes. Later the poet Koos Dalstra was blamed. Dalstra started a libel case against Scholte and won it all the way to the Supreme Court. Other theories are related to the shadowy environment of artists, cocaine dealers and money laundering practices in which Scholte would have moved at the time (described by Joost Zwagerman in his novel Gimmick!) and that the attack would have been a punishment for gambling debts, cocaine debts or not fulfilled obligations.

In 2019, Scholte stated in an interview that he knew who the perpetrators were.

At the beginning of February 1995, Scholte set up a Committee of Vigilance, after the Committee of Vigilance that Menno ter Braak and E. du Perron founded in the 1930s against the rising National Socialism. The idea was suggested to Scholte by Felix Rottenberg. This committee was supposed to become a political movement, but the initiative died a quiet death. Scholte left for Japan that same year to complete the mural Après nous le déluge. He then moved to Tenerife. Hoogendijk and Scholte separated in 1997. Scholte later remarried and has been living in the Netherlands since 2003 with his wife and two children. In 2021 he will live with his mother, again in the room he ran out of when he was 17. He is still with his wife.

Museum

Rob Scholte Museum, Den Helder

Rob Scholte Museum just before closing, 2018

In 2013, with limited resources, a museum dedicated to him was opened in the former main post office in Den Helder, a design by architect Jo Kruger from 1967. The museum was initially regarded as an asset to Den Helder,[5] but after a few years the municipality to return the building to be able to sell it. In October 2017, the judge ruled in preliminary relief proceedings that the museum could continue to exist for the time being. However, in April 2018, the museum was evacuated following a decision on appeal. Subsequently, the Court of Alkmaar ruled in September 2018 in proceedings on the merits that Scholte did not have the property on loan, but had a lease with the municipality. This could mean that the eviction had been unlawful. A year later, on September 18, 2019, the Alkmaar court ruled that the municipality had acted lawfully, that Scholte did not have a rental agreement but a user agreement and therefore owed the municipality an amount of several hundred thousand for evacuation and storage costs and gas, water and light. The municipality confiscated Scholte's collection in order to have it auctioned. An interlocutory judge stopped this. In the end, the collection was allowed to be auctioned.

Method

Scholte is a sculptor. He arranges and places images – from the mass media, from his own extensive archive – in a new context, giving them a new meaning. One often finds contradictions and contradictions in his works that are 'overcome' in their new context. His meticulously painted works are usually produced by assistants and signed by himself. In doing so, he follows a 17th-century method of working. His working method is illustrative of postmodernism and emphasizes the permanent influx of images that surround, shape and mold us. The media are always thematic, he draws inspiration from them, criticizes their manipulation and also acted as a 'media personality'