Synonyms for kunstenaars or Related words with kunstenaars

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Examples of "kunstenaars"
On 1 January 2002 the VVK merged with the "Stichting Scheppende Kunstenaars" (SSK) and "PodiumKunstWerk" (PKW), called the "Kunstenaars & Cultuur en Ondernemerschap" (Kunstenaars & CO). A year later on 12 December 2002 the members of the VVK voted to end their operations per 1 January 2003.
– “Institut Tibetain Yeunten Ling – tentoonstelling 80 kunstenaars”. Huy, Belgium, March 25 – April 9, 2007.
In 1956 on a national level, the SBBK changed into the "Beeldende Kunstenaars Regeling" (BKR).
– “Niet van gisteren: Een generatie kunstenaars in Mechelen 1945-1965”. Cultuurcentrum Mechelen, Mechelen, Belgium, Oct. 24- Dec. 19, 2010.
http://www.8weekly.nl/artikel/7059/diverse-kunstenaars-born-in-georgia-hedendaagse-kunst-uit-georgie-haaienkaken-en-leren-jurken.html
– HUYGENS, Frank / VAN DE VOORD, Anne. Niet van gisteren. Een Generatie Kunstenaars in Mechelen 1945-1975. Mechelen : Stad Mechelen, 2010. [On Luc Piron and others.]
In 1949 a national plan was created by the Department of Social Affairs, called the "Sociale Bijstand voor Beeldende Kunstenaars" (SBBK). This was the first government sponsored fund for artists.
In 1969 he was a member of the Haarlem artist society "De Groep", the Amsterdam Arti et Amicitiae, "Nederlandse Kring van Tekenaars", "De Keerkring", and "Beroepsvereniging van Beeldende Kunstenaars"(BBK) He signed his works "WSTEYN".
From 1 January 2005 to 1 Januari 2012, the "Wet werk en inkomen kunstenaars" (WW&IK) gave artists the chance to supplement their income for four years (maximum) if they were unable to make ends meet.
In addition to many exhibitions in Belgium and The Netherlands, Luc Piron exhibited in such countries as Spain, Germany, Italy, and India. Thus, he had an exhibition in Bilbao (Spain) in 1982. In the same year, his work was discussed in the book "Kunstbeeld in Vlaanderen vandaag – “100 Vlaamse kunstenaars.”"
Hoewel de uitgave (druk- en lay-outtechnisch) niet helemaal in verhouding staat tot de kwaliteit van het getoonde werk, bevat ze een schat aan nooit eerder gepubliceerde informatie (onder meer over de oplage van de affiches en de vergoedingen voor de ontwerpers). De inleiding (27 pp) behandelt o.m. het affichefonds van het A.M.V.C.; achteraan zijn biografieën opgenomen van alle kunstenaars (14 pp).
– Frans Walravens reviews the book by Frank Huygens and Anne Van de Voord, "Niet van gisteren. Een Generatie Kunstenaars in Mechelen 1945-1975", Mechelen : Stad Mechelen 2010, in: website of the Culture Council Mechelen, April 2010 http://www.cultuurraadmechelen.be/assets/files/orde/855/e-melaan_2010_04.pdf (“Het boek dat verschijnt naar aanleiding van de tentoonstelling is niet opgevat als een tentoonstellingscatalogus.”)
In the interbellum crisis in 1935 the "Voorzieningsfonds voor Kunstenaars" (VVK) was founded. In 1938 it became the "Fonds voor Bijzondere Doeleinden". Both were meant as extra resources for artist families. Sometimes artists gave works back in return, which led to this being required later (called the "contraprestatie").
Anton's other brother Jacob Hirschig was an artillery officer and he is listed as an 'amateurschilder' (amateur painter) in Pieter Scheen's monumental "Lexicon Nederlandse Beeldende Kunstenaars 1750 - 1950". There was another sister Matthia Hirschig with whom Anton Hirschig is confused in the first (1969) edition of Scheen's lexicon.
He was born in Rotterdam and in 1954 he became assistant to Wally Elenbaas and Louis van Roode. In 1959-1960 he became assistant to Marius van Beek and bronze worker Dick Grossman. He became a member of the "Gemeenschap Beeldende Kunstenaars" (GBK) in 1963. His works, which include large murals as well as small prints, often depict a teapot, usually placed on a table. He lives in Arnhem.
In 1947 in the Gemeentemuseum Den Haag held an exhibition for artists from The Hague, entitled "Haagse Kunstenaars" (The Hague Artists). This exhibition concept was repeated another eight times, until 1959. It is quite clear that most of the participants were either part of the Verve group, the Fugare group, and/or the Posthoorn-group. These groups were considered to be the main part of the New Hague School. This term was first used by Jos de Gruyter (1899-1979), chief curator of modern art at the Gemeentemuseum Den Haag and later director.
He was born in Groningen, but according to the RKD his parents moved to Haarlem when he was four, where he lived the rest of his life. He was a pupil of Henri Frédéric Boot and A.J. Grootens. He lived for 9 years on Lange Herenstraat 9 near the Haarlem railway station and until his death in 1988, on Donkere Spaarne 54. He was married to Katherina Martin and they had 6 daughters and 4 sons. He was a skilled etcher and graphic artist. During the Second World War, he used his skills to forge papers for Jewish people. He was a member of the Amsterdam artist societies Arti et Amicitiae, Hollandse Aquarellisten Kring, Nederlandse Kring van Tekenaars, and Federatie van Verenigingen van Beroeps Beeldende Kunstenaars, and the Haarlem-based Kunst zij ons doel until 1948, when he joined the Teisterbant club of Godfried Bomans. In 1951 he helped start up De Groep and was its chairman for over 15 years.
Kemink studied at Amsterdam's Rijksakademie van Beeldende Kunsten (in English: Royal Academy of Visual Arts). After his studies, he shared a studio with the Dutch graphic artist M.C. Escher in the late 1940s, and - in the early 1950s - became a member of the Beroepsvereniging van Beeldende Kunstenaars (known as the BBK or, in English, Union of Visual Artists). During his time in the Netherlands, Kemink also worked with compatriot artist Karel Appel, best known for his involvement in the Danish-Belgian-Dutch CoBrA movement. In 1957, Kemink participated in an exhibition of artists working for the theatre and circus at Amsterdam's nonextant Fodor Museum. While the artist held his own among Amsterdam and Rotterdam's artistic elite (a disparate group that included Piet Mondrian, Anton Rooskens, Corneille, and Eugène Brands), Kemink's reluctance to adopt a style or affiliate with a movement shielded his work from what he considered banal trends in Modern and Post-Modern Dutch painting.
The Dutch Society for Botanical Artists, Vereniging van Botanisch Kunstenaars Nederland further referred to as “VBKN”, is the Dutch society which brings together botanical artists and is dedicated to enhancing the quality of work and to promoting the public awareness of botanical illustration in the Netherlands. The society honors the tradition of botanical art and aims at furthering its development. It organizes many exhibitions, workshops, master classes, lectures, annual excursions, maintains contact with other international societies for botanical artists and brings the work of the members to the public attention. The VBKN was established on the 12th of April 2006 by Jacomien van Andel, Ria van Elk, Margriet Honingh, Hanneke Jelles, Sigrid Frensen, Jan van Os and Anita Walsmit Sachs. With already a 150 members in 2011, the society celebrated its 5th anniversary.
Gradually Lies started receiving official recognition for his work. In 1851 he was awarded the gold medal at the exhibition in Brussels for his "Interrogation of Joan of Arc". In 1853 he again obtained the gold medal in Brussels. In 1858 he was made a knight of the Order of Leopold. When in 1849 the "Vereniging van Antwerpse kunstenaars" (the 'Association of Antwerp artists') was established, he was elected its secretary. Upon the merger in 1852 of this association with the newly formed "Kunstverbond" or "Cercle Artistique, Litéraire et Scientifique d’Anvers" ('Art Association'), Lies retained the post of secretary of the department of visual arts, a position he held until 1861. The Kunstverbond championed changes to the organisation of the Antwerp Academy and Lies was the author of a plan that called for the separation of the artistic and administrative functions in the Academy.