Historical stories and essays

On May 30, 2025, Rimco Spanjer, one of the translators of the autobiography “Sag nie, du gehst den letzen Weg,” gave a lecture on the compelling life story of the famous and decisive artist couple Lin Jaldati, stage name of Lien Brilleslijper (1912-1988) and Eberhard Rebling (1911-2008).
She grew up in Amsterdam’s Jewish corner; he in Berlin, expelled to the Netherlands in the 1930s because of his Communist sympathies. During the lecture, music played by Eberhard Rebling and Yiddish songs sung by Lin Jaldati resounded through the Albert Vogel Hall. Just before the outbreak of World War II, they had performed at Haagse Kunstkring.

architect Frans Lourijsen – de grote onbekende | Peter van Dam
uitgeverij de onderste steen, Nijmegen
2025
ISBN: 978-90-822156-7-0
Op 8 mei 2025 presenteerde auteur, historicus Peter van Dam in de Albert Vogelzaal zijn onlangs verschenen en buitengewoon boeiende boek ‘architect Frans Lourijsen  – de grote onbekende’.
Lourijsen (1889-1934) mag representatief worden genoemd voor de eigentijdse architectuurstroming die bekendheid kreeg als de Nieuwe Haagse School. Als sociale en kunstzinnige ontmoetingsplaats nam  de Haagse Kunstkring hierbij een bijzondere plaats in.

A living history.

What began in 1891 as an idiosyncratic initiative of painter Théophile de Bock and fourteen kindred spirits above café Riche on Buitenhof, grew into an association that was and still is ahead of its time. From the beginning, the Haagse Kunstkring opted for a meeting of disciplines: visual art, music, literature, theater, architecture and design. This idea still forms the core of the association.

To mark its 125th anniversary, 2016 saw the publication of this special anniversary edition: a richly illustrated publication full of stories, images, anecdotes and reflections. With contributions from members and art experts, drawings from the Golden Books, portraits of high-profile figures, posters, exhibitions, and a look at the DNA of the HKK: collaboration across disciplines, artistic freedom, and a committed attitude toward The Hague and the world.

It shows how Haagse Kunstkring reinvented itself again and again, moving with the times while maintaining its own character. And why a place like this, open, independent and content-driven, is still significant today.

125 years Haagse Kunstkring marks not a conclusion, but a moment of reflection. An interim of an association that continues to make, think, show and share.

The full anniversary issue can be read online at the link below.

In 1921, Haagse Kunstkring played an unexpectedly central role in the design of a new part of The Hague: the Goudsbloemlaan in the Bloemenbuurt. The municipality held a competition for the design of 176 houses, stores and a central square. That competition was co-organized by the association Enterprise and Freedom and supported by architects from the Architecture Department of the Haagse Kunstkring.

The entries – as many as 37 designs – were exhibited in the Kunstkring building. The jury included members of the Kunstkring, including W. van Boven and H.P. Berlage. Thus the Kunstkring became not only a place for debate and meeting, but also a stage for innovative urban planning. What followed was a design that received much appreciation both architecturally and urbanistically, especially for the interplay of housing, greenery, and well thought-out façade structures.

The article below was written by Otto Das, architect. He researches housing construction from the twentieth century and the consequences of the construction of the Atlantic Wall for urban development in the Bloemenbuurt of The Hague. Publications about his research appear regularly in ‘Wijkwijs’ the neighborhood organ of the Bloemenbuurt.

This text previously appeared in Wijkwijs 2024 a publication of the Bloemenbuurt De Hyacint neighborhood council, volume 46, March 2024, number 1.

Peter Berger neemt je mee op een persoonlijke en beschouwende treinreis naar de Belgische hoofdstad. Wat begint als een alledaagse werkreis, groeit uit tot een essayistisch avontuur vol herinneringen, overpeinzingen en culturele observaties. Met een scherp oog voor taal en identiteit reflecteert Berger op de verschillen én overeenkomsten tussen Vlaanderen en Nederland, waarbij hij zowel de lichtvoetige als de diepere lagen van deze relatie blootlegt.

Zijn stijl is herkenbaar: speels, melancholiek, ironisch, maar altijd doordrenkt van een liefde voor taal en cultuur. Berger schetst Brussel als een stad van grandeur en kitsch, van politieke intriges en culinaire verleidingen, terwijl hij ondertussen subtiel reflecteert op bredere thema’s zoals nationale identiteit, historische verbondenheid en de rol van taal in culturele beleving.

Het stuk ademt Berger’s fascinatie voor de Nederlandse taal en de Vlaams-Nederlandse cultuurverhouding, een onderwerp dat hem zijn hele leven heeft beziggehouden. Zijn observaties over het Belgische zelfbeeld, de Vlaamse emancipatie en de neiging van Nederlanders om zich in het Engels te werpen zodra ze een buitenlander tegenkomen, zijn even treffend als vermakelijk.

Peter Berger, erelid van de HKK (1949-1992) was een Nederlandse journalist, schrijver, dichter en ambtenaar. Hij begon zijn carrière bij de krant Het Vaderland en maakte later de overstap naar de overheid, waar hij jarenlang werkzaam was als hoofd van de afdeling Letteren bij het Ministerie van Cultuur, Recreatie en Maatschappelijk Werk (CRM), de voorganger van het huidige Ministerie van Onderwijs, Cultuur en Wetenschap (OCW). In deze functie speelde hij een rol in literaire en cultuurpolitieke vraagstukken. Naast zijn ambtelijke werk was Berger actief in het culturele leven en schreef hij regelmatig essays en artikelen over literatuur, taal en identiteit. Zijn scherpe pen en onafhankelijke geest maakten hem tot een invloedrijke stem in het culturele debat. 

In 1992’s Apology of the Dutch Language and Its Cultures, Geert van Istendael makes a plea for the preservation and defense of Dutch. He argues that the Dutch language is not a given, but a heritage that deserves protection. At a time when English is becoming increasingly dominant, he warns of the risks of language influence and cultural flattening. While major languages such as English and French are naturally strengthening their position in the world, Dutch is proving vulnerable.

Van Istendael denounces the false modesty with which the Dutch and Flemish deal with their language. Dutch are said to adapt too easily to English, while Flemish sometimes reduce their language to dialect. He emphasizes that Dutch is not a small language in Europe, and that the unity of the language – across national borders – is an essential line of defense. The bond between the Netherlands and Flanders should not only exist on paper, but also be actively propagated in education, literature and culture.

In this incisive argument, Van Istendael calls for a more conscious language policy, in which cooperation between the Netherlands and Flanders plays a key role. Language is more than a means of communication; it is a carrier of identity, history and culture. Those who do not defend their language run the risk of losing their own cultural foundations.

Geert van Istendael (born 1947) is a Belgian writer, poet, essayist and journalist. He studied sociology and philosophy at KU Leuven and worked for many years as a journalist for the Belgian public broadcaster BRT (later VRT). Van Istendael is known for his sharp analyses of language, culture and politics, often with a critical view of Flanders, Belgium and Europe. His work includes novels, essays and poetry, lending his voice to the debate on language and identity.

What is culture and what role does it play in shaping a society? In Culture as an Accord of Sensibility, J.L. Heldring describeshow culture both in a narrow sense – art, media and heritage – and in a broad sense shapes a society. Not only the arts, but also customs, manners and historical backgrounds determine the identity of a people.

Heldring argues that national and regional cultures, such as the Dutch and Flemish, have each undergone their own development despite their shared language. He rejects the idea of a uniform European culture and advocates cultural autonomy, especially for smaller cultures within the European Community. According to him, cooperation among smaller countries, such as the Netherlands, Denmark and Portugal, is essential to preserve cultural individuality in a Europe where political and economic power is increasingly centralized.

With his clear and down-to-earth style, Heldring offers a critical reflection on the relationship between culture, identity and international cooperation. His plea for cultural diversity emphasizes the importance of individuality within a changing Europe.

J.L. Heldring (1917-2013) was a Dutch journalist and columnist. He studied law at Leiden University and was for decades associated with NRC Handelsblad, where he wrote the influential column Dezer Dagen between 1968 and 2012. Heldring was known for his sharp, independent analyses on international politics, culture and society. He was appreciated for his clear style and critical eye.

What does cultural identity mean in an ever-integrating Europe? In Europe’s smaller cultures , Maarten Mourik describes how the multiformity of cultures within Europe has shaped civilization over the centuries. He argues that European civilization is rooted not only in the classical traditions of Athens, Rome and Jerusalem, but also in the often forgotten pre-Christian Celtic and Germanic cultures.

Mourik warns of the consequences of standardization and centralization within the European Union. He shows how smaller cultures, from Friesland to the Basque Country and from Flanders to Hungary, are constantly under pressure and sometimes even in danger of disappearing. At the same time, he argues for the preservation of cultural diversity as an essential strength within Europe. He sees the clash and exchange between cultures as the engine of progress, and he argues that the disappearance of cultural identity represents an impoverishment of civilization.

His 1991 essay is both a historical analysis and a political appeal: Europe must cherish and protect its cultural diversity to preserve its true strength.

Maarten Mourik (1924-2013) was a Dutch diplomat, writer and publicist. He studied law in Leiden and held diplomatic positions in Belgium, Germany and the United Kingdom, among other countries. Mourik specialized in international relations and cultural politics. In addition to his diplomatic work, he wrote essays and books on European history, culture and geopolitics. His work is characterized by great historical knowledge and a critical view of developments within Europe.

Criticism is a tricky subject, especially in the Low Countries. How do the Dutch and the Flemish deal with it? According to Eric de Kuyper, in completely different ways. In Apples and Lemons, he examines the cultural attitudes toward criticism in the Netherlands and Flanders. In doing so, he observes that both countries have difficulty with criticism, but each in their own way: in the Netherlands, people seem to ignore criticism, while in Flanders, criticism echoes endlessly without consequences.

De Kuyper lays out these observations in a sharp and sometimes ironic way. He shows how the Dutch often dismiss criticism as unnecessary whining and prefer to deny that anything is wrong, until a massive turnaround suddenly disapproves of everything. Flemings, on the other hand, seem to embrace criticism, but eventually let it get bogged down in endless talk, without actual change. With this analysis, he places himself in the tradition of intellectuals such as Roland Barthes and Herbert Marcuse, who see criticism as a necessary tool to break through entrenched structures.

Eric de Kuyper (born 1942) is a Belgian author, cultural critic and film scholar. He was born in Brussels and built a multifaceted career in the Netherlands and Flanders. Among other things, De Kuyper studied film and theater studies and worked for a long time as a lecturer and researcher at Radboud University in Nijmegen. He is known for his essayistic writing style and his sharp view on culture, media and society. In addition to his academic work, he has written autobiographical novels in which he interweaves memories of his youth with reflections on cinema, art and social developments.

In 1992 schrijft Simone Dubois over de rol van taal in de culturele identiteit van Europa, met een bijzondere focus op de historische invloed van het Frans en de opkomst van het Engels als dominante wereldtaal. Ze plaatst dit vraagstuk in een breder perspectief van culturele autonomie, economische efficiëntie en de noodzaak om kleinere talen en tradities te beschermen binnen een verenigd Europa.

Aan de hand van het leven en werk van Belle van Zuylen – een Nederlandstalige schrijfster die in het Frans publiceerde – illustreert Dubois hoe taalkeuze en culturele identiteit door de eeuwen heen nauw met elkaar verweven zijn. Ze waarschuwt voor de gevaren van een eenzijdige focus op economische belangen en benadrukt het belang van meertaligheid in een grensoverschrijdend Europa.

Haar inzichten over taalbeleid, vertaling en de bescherming van culturele diversiteit blijven actueel nu de vraag naar een evenwicht tussen globalisering en culturele eigenheid nog steeds speelt

Simone Dubois was een Belgische literatuurhistorica en essayiste, gespecialiseerd in de Europese literatuur van de 18e en 19e eeuw. Ze was vooral bekend om haar onderzoek naar Belle van Zuylen, over wie ze meerdere publicaties schreef. Dubois doceerde Franse literatuur en cultuur aan verschillende instellingen en had een brede interesse in taal, identiteit en de wisselwerking tussen Nederlandse en Franse cultuur.

Haar werk kenmerkte zich door analyse van meertaligheid en culturele overdracht, waarbij ze het belang van taal als drager van identiteit en geschiedenis benadrukte. In haar essays reflecteerde ze op de veranderende rol van het Frans in Europa en de toenemende invloed van het Engels. Ze bleef pleiten voor de bescherming van kleinere taalgebieden binnen een zich verenigend Europa.

In 1992, with the advent of European unification, Hans Heestermans examined the differences between Dutch in Flanders and the Netherlands. How did these language differences come about, and does Flanders have the right to use its own variants of Dutch?

Throughout history, language has developed differently in North and South. Flemish migrants brought their influence to the North in the 16th and 17th centuries, while in Flanders French remained the dominant language for a long time. Only in the 20th century did a standard language emerge there based on Dutch, but with its own word choices and expressions. Heestermans posed the question: should Flanders completely adapt to the Dutch of the Randstad, or is there room for its own identity within the language?

He also looked at the possible consequences of an open European market. Would Dutch, and especially literature, come under pressure from economic forces?

Heestermans offers a fascinating look the discussion that continues today: how to deal with language change and regional differences within one language area

Hans Heestermans (born 1943) is a Dutch linguist and lexicographer specializing in historical linguistics and dialectology. He studied Dutch language and literature at the Catholic University of Nijmegen and received his doctorate in 1979 with a dissertation on the meaning development of prepositions in Dutch dialects. Heestermans was involved in several lexicographical projects and played an important role in the development of dictionaries and etymological studies. He collaborated on the Dictionary of the Dutch Language (WNT) and was editor of the Etymological Dictionary of Dutch. In addition, he published on language history, dialectology and language change in both scholarly and popular publications. He has also studied variation within Dutch and the differences between Dutch in Flanders and the Netherlands. His publications and research have contributed to a better understanding of language development and the influence of social and cultural factors on language use.

The history of European film is one of constant interaction between national identity and international influence. In the early years of film, Europe led in artistic and technical developments, but the impact of World War I caused Hollywood to take over the dominant position. European filmmakers then tried to hold their own, with both avant-garde experimentation and attempts at commercial competition.

The war years brought a radical turn of events. In Nazi Germany, the film industry was used for propaganda, while in the Netherlands and other occupied countries Jewish and left-wing filmmakers were excluded or had to flee. At the same time, nationalism grew in the film world, with a strong emphasis on national identity and censorship.

A new film climate emerged after the war, in which European directors experimented with new narrative forms, such as Italian neorealism. With the advent of European unification in 1992, the question arose whether national film cultures would remain intact or whether film would become a transnational art form. Nico J. Brederoo (1942-2000) outlines the tensions and developments that shaped European film through the 20th century.

Nico J. Brederoo was an art historian, author and researcher known for his contributions to the study of film and fine art. He wrote about Charley Toorop, the book “Charley Toorop: Life and Works.” He also published articles in professional journals, including the “Journal of Media History.” He taught at Leiden University and integrated film there within the art history course. In 1990 he was appointed Extraordinary Professor in the History and Sociology of Film at the University of Amsterdam. His work shows his great interest in how different art forms influence each other and in what context they arise and develop.

In 1992, Frank Boenders analyzed the state of the Visual Arts and its role in society with keen observations and critical comments. He described how art was increasingly incorporated into a system of market forces, spectacle and institutional interests, as a result of which the essence of art threatened to disappear in a stream of production and consumption. Meanwhile, over thirty years later, his analysis still proves relevant. Museums have further evolved into cultural brands, art fairs help determine the appreciation of art, and the art world has become increasingly intertwined with economic and social dynamics. At the same time, the need for meaning and reflection within art remains. Boenders’ call for a rethinking of the essence of art thus remains topical.

Frans Boenders (Antwerp 1942) Flemish radio and television producer, writer and philosopher. He studied Germanic philology and philosophy at the Catholic University of Leuven. He worked for more than twenty-five years for the Flemish public broadcaster as a producer of radio and television programs. Author of a dozen books and essays on writing, writers and literary ethics. He wrote for several Flemish and Dutch literary and cultural magazines and was editor-in-chief of magazine Kunst en Cultuur. He collaborated on art exhibitions and catalogs of the surrealist Belgian painter René Magritte and art nouveau, among others.

In 1991, Rudy Fuchs, then director of the Haags Gemeentemuseum, gave a speech at the presentation of the Prize of Criticism to choreographer Jirí Kylián. His speech talked about the power of dance and the way Kylián managed to touch it, despite his limited background in ballet.

Fuchs describes how he initially had little affinity for dance, but was captivated by Kylián’s work. He compares movement in ballet to visual art, in which he himself was at home, and sees in Kylián’s choreographies a combination of precision, rhythm and transformation. He speaks of the magic of dance as an art form that effortlessly blends stillness and movement and emphasizes the importance of collaboration between disciplines.

With humor and personal anecdotes, Fuchs outlines the influence of Kylián’s work and the role of the Nederlands Dans Theater, which was inseparable from him. He winks at the visual arts: where painters and writers have to do without applause, here Kylián is rightly in the spotlight, admired and recognized.

Rudi Fuchs (1942-2022) Museum Director and Art Critic studied art history in Leiden and received his doctorate in 1975. That year he became director of the Van Abbemuseum in Eindhoven, where he organized innovative exhibitions. Later he directed the Haags Gemeentemuseum and was chief curator of documenta 7 in Kassel (1983). From 1993 to 2003 he was director of the Stedelijk Museum Amsterdam, where his exhibition policy was both influential and controversial. After leaving, he remained active as a writer and curator. Fuchs saw art as an experience, not as something to be explained, but to be really seen.

In 1991, Hedy d’Ancona, then Minister of Culture, reflected on the position of art and culture within the European Community. She argued that Haagse Kunstkring had not only played an important role in Dutch art life, but also in cultural exchange within Europe. The question of how art would develop within a united Europe was central to this.

D’Ancona outlined the paradoxes of European integration: while political and economic cooperation became ever closer, culture remained an area where national governments set their own course. She emphasized that cultural policy was by definition more than a market mechanism and that government support remained essential to ensure diversity and innovation.

Hedy D’Ancona warned of the risks of a uniform European policy, but also saw opportunities. According to her, the Netherlands had always had an open culture that absorbed international influences without losing its identity. In that open attitude lay the strength for the future. D’Ancona encouraged artists and institutions such as the Haagse Kunstkring to actively participate in international cultural dialogue and take advantage of the opportunities of European cooperation

Hedy d’Ancona (b. 1937) is a Dutch sociologist, feminist and politician who has dedicated her entire career to emancipation, culture and social justice. She studied social geography and sociology at the University of Amsterdam and became one of the figureheads of the women’s movement in the 1970s as co-founder of Man Vrouw Maatschappij and editor-in-chief of Opzij.

In politics, she was active for the Dutch Labour Party (Partij van de Arbeid (PvdA)), including as State Secretary for Emancipation (1981-1982), Minister of Welfare, Public Health and Culture (1989-1994) and MEP. She also served for many years as president of Oxfam Novib. Her work was recognized with awards such as the Aletta Jacobs Prize and the Harriet Freezerring.

D’Ancona remains an influential voice in social debate, with an undiminished passion for art, culture and equal rights.

In 1991, Patrick Dewael, then Flemish Minister of Culture, wrote about the role of art and culture in the European unification process.

He emphasized how for a hundred years Haagse Kunstkring had been a platform for international exchange and promoted dialogue between Dutch and Flemish artists.

Dewael felt that cultural cooperation should go beyond exchange alone. He advocated a stronger joint appearance of the Netherlands and Flanders in the international art world, including at major events such as the Frankfurt Book Fair and the Venice Biennale. He also pointed out the risks of a unified European market, in which smaller cultures could come under pressure. To prevent this, he pushed for a cultural paragraph in the EC treaty that would guarantee cultural diversity. This story shows how art was not only an expression of creativity, but also a means of shaping identity and cooperation within Europe

Patrick Dewael (born 1955) is a Belgian Open Vld politician and an important liberal voice in Flanders. He studied law at VUB and began his political career in 1985 as a member of Parliament. He subsequently served as Flemish Minister of Culture (1985-1992), Minister-President of Flanders (1999-2003) and Federal Minister of the Interior (2003-2008). He was also president of the Chamber three times and mayor of Tongeren from 1995 to 2024. After the 2024 elections, he retired from national politics but remained active locally. Dewael is known for his liberal views and decades of influence in Belgian politics.

One hundred years ago, Haagse Kunstkring was founded following the international example of the “Cercles d’arts,” a new phenomenon. Artists wanted to bring different arts into contact with each other and promote an international exchange. The Haagse Kunstkring took advantage of its anniversary in 1992 to reflect on its function within a new European cultural society. The situation between the cross-border practice of art on the one hand, and the preservation of linguistic, national, regional and even local identity on the other, is placed in a new light by several contributions in the book “Hague Bohème in Search of Europe,”.

Jurri Rooyackers, then president, wrote a reflection on the history and future of the Circle. His preface, in Hague Bohème in Search of Europe, discusses the origins of the Haagse Kunstkring and the changing cultural context in which the society found itself.

Rooyackers highlights the international orientation of the Circle and the interaction between Dutch and Flemish culture. He asks questions about the role of art in a bigger picture: how does a local artists’ association relate to a broader European cultural landscape? Should an artists’ association stick to traditions or, on the contrary, actively respond to international developments?

At the time, this opened a discussion about the meaning of art and culture in a changing world.

The Haagse Kunstkring after the war.

In the years after World War II, the HKK played an active role in the cultural and social life of The Hague. Artists, writers and musicians experimented with new forms, while the Kring provided space for debate and collaboration. Political commitment regularly played a role in this. In the 1930s members such as Paul Schuitema and Piet Zwart were already involved in progressive and socialist circles, and even after the war the Kring remained a platform for engaged artists and writers. Topics such as decolonization, social inequality and the influence of art on society were addressed in lectures, manifestations and discussions.

Nico Wijnen (1918-1995), writer and poet, was himself active in cultural debate and played a role in literary circles, including through magazines such as Maatstaf. As a board member of the Haagse Kunstkring, he had an eye for both the artistic and social position of art.

In this article, he brings those perspectives together and paints a picture of a period when art and engagement were closely intertwined.

The Haagse Kunstkring has long played an important role in the musical life of The Hague. In this story, Chris Verhoog examines the history of the “Fourth Department of Music,” which provided a stage for musicians and composers. Its concerts attracted visitors from various circles, including members of the Royal Family and international composers.

Verhoog shows how music was organized within the Arts Circle, which musicians performed and which works were performed. He drew on archival material, programs and reviews and places the developments in a broader context. His narrative makes clear how music had a permanent place within the Kunstkring and how that changed over time.

Chris Verhoog (1923-2001) was a bass-baritone, conductor and choir leader. He studied singing and voice training with Jitske Steendam and conducted several choirs, including Gouda’s Liedertafel and the Royal Schiedams Mannenkoor Orpheus. In addition to his work as a performing musician, he was involved in choral education and the training of conductors.

Haagse Kunstkring work collected published in 1977 by the Fine Arts Service ‘s Gravenhage

Foreword by Drs. Th. van Velzen
Director Department of Fine Arts (1977)

and a word from chairman Albert Vogel (1977)

In front of the door of the Haagse Kunstkring is a work of art that perhaps not everyone immediately notices:Paul van Solingen’ s “Exit Tile .

This work was illegally placed by the artist on Lange Voorhout in 1981, as a symbolic gesture to leave sadness behind and start anew. The municipality removed the tile, but it was eventually given a permanent place at the HKK.

Since 1984, the “Out of Hours tile” has been there as a silent witness to the interaction between art and public space.

Henk Bremmer: Art Pope and inspiration in The Hague art world

Henk Bremmer (1871-1956) was an influential art educator, critic and advisor who played an important role in the Dutch art world between 1910 and 1940. He taught well-to-do art lovers, mostly women, and with his insights influenced not only their tastes but also the way art was collected and appreciated. His name is inextricably linked with great collectors such as Helene Kröller-Müller, for whom he made purchases and who, partly thanks to his advice, built up an impressive art collection.

In her story on Bremmer, following the recently published book Bremmerians – Julie de Graag and her circle by Jan Paul Hinrichs, Margreet den Buurman, author and member of Haagse Kunstkring, paints a picture of Bremmer’s influence and the artists and collectors around him. Den Buurman is a literary historian and biographer specializing in art and cultural history.

Her article takes a look at Bremmer’s influence within The Hague’s art world and his connections with women artists, including Julie de Graag. A fascinating insight into a period when art education, networking and the role of women in the art world underwent a significant shift.

Willem Leuring: Art collector, patron and member of the Haagse Kunstkring

Some members of the Haagse Kunstkring have had a lasting influence on the art world. Willem Jan Hendrik Leuring (1864-1936) was one such figure. An art collector, patron and dermatologist, he was involved in the Art Circle from its founding in 1891. He had a keen interest in modern art movements and was closely associated with artists such as Johan Thorn Prikker.

Leuring probably played a role in the first Van Gogh exhibition in the Netherlands, held at Haagse Kunstkring in 1892. He later organized a major Van Gogh exhibition in Groningen and had the famous Art Nouveau villa The Seagull in The Hague designed by Henri van de Velde.

This story was written by Margreet den Buurman, author and member of Haagse Kunstkring. Den Buurman is a literary historian and biographer specializing in art and cultural history. Her publications include a biography on Thomas Mann and a double biography on the Hague painter brothers Willem and Pieter de Zwart. In her work, she brings to life the stories of artists and cultural figures, in which Haagse Kunstkring plays an important role.

In the anniversary edition celebrating the 100th anniversary of the Haagse Kunstkring in 1991, Peter Berger (1936-2000) wrote a striking portrait of The Hague and its artists. With a keen eye for detail and a deep sense of melancholy, Berger outlines in Anatomy of The Hague’s melancholy not only the character of the city, but also the role of Haagse Kunstkring as a source of creativity and inspiration.

The HKK, meeting place for writers, painters, musicians and other artists, plays an almost mythical role in Berger’s story. It is the place where the soul of The Hague is expressed: refined, wistful and always in motion. In his story, Berger takes you along the stately avenues, atmospheric cafes and artistic circles of The Hague, where such great names as Louis Couperus, Willem Kloos and Jacques Bloem set the tone.

With a sense of the spirit of the times, Berger manages to capture The Hague’s unique combination of grandeur and transience. Anatomy of Hague melancholy is an ode to the city and the artists who made it, but also to the Haagse Kunstkring itself: an indispensable pivot in the cultural life of The Hague. The story shows how art and literature bring the city to life and how the Kunstkring always provided a home for the Hague bohemian.

An extraordinary and here and there vile story, experience how The Hague, its artists and the Haagse Kunstkring come together in a compelling portrait of art and melancholy.

Peter Berger was not only a poet but also the sometimes ruthless spokesman of the 1960s. He was head of literature at the Ministry of CRM/ WVC for 25 years. Harry Mulisch once called him the only civil servant to whom he dared leave the assessment of literature.

The Haagse Kunstkring and art association life around 1900

At the end of the 19th century, the art climate in the Netherlands changed. Artists sought new forms of cooperation and did not always feel at home with established associations such as Pulchri Studio and Oefening Kweekt Kennis. It was during this period that the Haagse Kunstkring (1891), an association in which painters, writers, musicians, architects and actors came together, was formed.

In De Haagsche Kunstkring in art society life around 1900, literary historian Ton van Kalmthout examines the position of the Kunstkring within these changes. Van Kalmthout, senior researcher in literary history affiliated with the Huygens Institute and professor at Leiden University, highlights in this article how the Haagse Kunstkring distinguished itself from other societies and how it grew into a platform where innovative art was presented and practitioners and enthusiasts met.

Van Kalmthout takes us back to art life around 1900 and shows how Haagse Kunstkring was not only a reaction to existing art associations, but also gave an impetus to new forms of collaboration and artistic expression. This story, taken from the publication De Haagse bohème op zoek naar Europa (1992), offers a clear picture of a period of great change in Hague art life.

This story by art historian Ronald de Leeuw, former director of the Van Gogh Museum and Rijksmuseum, is about the first department of the Haagse Kunstkring. From its founding in 1891 to the 1970s, it shows how this department, which began as Painting and Sculpture and is now called Fine Art and Architecture and Design, developed.

From Théophile de Bock, one of the founders, to Hermanus Berserik and his generation, the story shows how artists came together, worked and exhibited here. Exhibitions, discussions and new ideas played a major role.

A very special moment was the very first Van Gogh exhibition in the Netherlands, organized by the Haagse Kunstkring in 1892. Artist Jan Toorop curated this exhibition and showed the Dutch public an overview of Van Gogh’s work for the first time, at a time when he was still unknown.

This story gives a clear picture of how art and artists moved within the Haagse Kunstkring and how this department had a lasting impact on the art climate in The Hague.

Sinds de oprichting van de Haagse Kunstkring in 1891 speelt de tweede afdeling, tegenwoordig bekend als Architectuur en Design, een cruciale rol in de ontwikkeling van architectuur en kunstnijverheid in Den Haag. Deze afdeling bood architecten en ontwerpers een platform voor tentoonstellingen, debatten en samenwerkingen, waardoor zij bijdroegen aan de evolutie van de moderne bouwkunst.

Vanaf de eerste exposities tot de vernieuwende aandacht voor stadsuitbreiding en volkswoningbouw in de twintigste eeuw stond de wisselwerking tussen vorm, techniek en esthetiek centraal. De afdeling fungeerde als een broedplaats voor ideeën en experimenten, waarbij de dynamiek van de Haagse stedelijke ontwikkeling steeds werd weerspiegeld in de thema’s en activiteiten.

In 1977 beschreven Rudolphine Eggink en Peter Fuhring deze rijke geschiedenis, waarin de invloed van de afdeling op de stad Den Haag onmiskenbaar is. Hun verhaal laat zien hoe de discipline van architectuur en design zich binnen de Haagse Kunstkring heeft ontwikkeld en een blijvende stempel op de stad heeft gedrukt.

This 1977 narrative by Albert Vogel jr describes the history of the Frauie Letteren department, now known as the LTF (Literature, Theater, Film) department, within the Haagse Kunstkring. From its founding in 1891 until after World War II, this department played a role in the literary and artistic life of The Hague.
Vogel discusses the influence of writers such as Marcellus Emants, Louis Couperus and Paul Verlaine, but also pays attention to lesser-known members who helped determine the dynamics of the Haagse Kunstkring. He shows how literature, theater and recitation art developed within the HKK and how they interacted with other art forms, such as music, drama and shadow plays.
Experimental initiatives are also discussed, including the first Dutch Dada meeting in 1923. It outlines Haagse Kunstkring as a place where writers, artists and performers met and new ideas and movements converged.