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世界的に有名なGreet van Amstelの名作1点、そのすべてが唯一無二の芸術品
10月 2026 更新 · 当サイトの人気スコア（各作品の検索数、閲覧数、注文数）に基づくランキング · 1点の Greet van Amstelの作品がカタログにあります
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Untitled (1975)はGreet van Amstelの作品の中で最も注目を集めている絵画です。原画はVenloのMuseum van Bommel van Damに所蔵されています。 当カタログに含まれるGreet van Amstelの1点の作品のうち、これら1点は最も有名な作品です。制作年、所蔵美術館、そして時代を超えて愛される理由とともに、一点もののオリジナル作品をご紹介します。
1903 – 1981
最多収蔵館: Museum van Bommel van Dam
ギャラリーの視点で選ぶ、Greet van Amstelによるトップ10作品
Greet van Amstelの原画を所蔵する美術館
このページに掲載されている絵画を最も多く所蔵している 1 の美術館
| 美術館 | 都市 | Greet van Amstelの作品 | このリストの絵画 |
|---|---|---|---|
 Museum van Bommel van Dam |
Venlo | 1 | Untitled |
Greet van Amstelの歩み：それぞれの作品が持つ唯一無二のオリジナル
ここに表示されているGreet van Amstelの年代別オリジナル作品はすべて1975年のもので、知名度の高い順に並んでいます。
年別作品数
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Greet van Amstelの絵画：ギャラリーへの質問
Greet van Amstelの最も有名な作品は何ですか？答えを見る
Untitled (1975)
Greet van AmstelがUntitledを制作したのは何歳の時ですか？答えを見る
72歳：Untitledは1975年の作品で、Greet van Amstelの生年は1903年です。
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当カタログにはGreet van Amstelによる作品が1点ございます。
最も有名なGreet van Amstelのオリジナル作品はどこで見ることができますか？答えを見る
主にMuseum van Bommel van Dam (Venlo)に所蔵されています。上記の美術館一覧にすべて記載されています。
Greet van Amstel：アーティストの肖像画
The Shadow of Survival
Amsterdam, 1903. A life begins that will eventually be defined by both the creative impulse and the profound darkness of the twentieth century. Gretha Leijden van Amstel, known to many as Greet van Amstel, moves through the early decades of the century with a growing sense of form and space. By 1920, she is in Berlin, living with her first husband, Lodewijk Lopes Cardozo. The city is a crucible of modernism, and here, the first tremors of contemporary art reach her. She returns to Amsterdam in 1923, seeking formal discipline at the Institute for Applied Arts Education. She studies under the sculptor Berend Jordens and finds her way into the studio of John Raedecker, absorbing the tactile language of sculpture and the weight of physical presence.
The trajectory of her life shifts violently in 1942. The art of form gives way to the struggle for existence. She spends ten months in Auschwitz, a period she later confronts through her writing. The horror is not abstract; it is personal. She witnesses the removal of her nineteen-year-old daughter to the gas chambers on August 31. She survives the mass liquidations and the death marches that claim so many others as the Russians approach in January 1945. She remains behind when others are driven away, escaping the final, sinister sweeps of the SS by a narrow margin. She emerges from the camp with a voice that refuses to be silenced.
A Dual Expression
Post-war life for van Amstel is a process of reconstruction, both personal and creative. She turns to the written word, beginning her work as a poet in 1957. Her writing carries the weight of her experience, seen in the long poem "And there was no darkness on the earth" completed in 1958. Her output is not limited to the page; she returns to visual expression, utilizing mixed painting techniques that she exhibits in 1971. Her work is a collision of different media and heavy histories.
Her engagement with the world remains active and often confrontational:
- She became a member of the Amsterdam Artists Working Group in 1973.
- In 1972, she provided testimony in a hearing of the second chamber regarding the "Drie van Breda."
- Her literary reflections include the collection "Forbidden to live."
The Final Years in Amsterdam
The political and the personal remain intertwined in her later years. She is a woman who lived with a passion for art and a commitment to political truth. Even as she approaches her seventies, she is a presence in the public sphere, speaking out against war criminals. She remains in her native city, Amsterdam, until her death on January 4, 1981. Her legacy is found in the tension between the physical objects she shaped and the words she used to describe the void left by history.