Cross-Pollination, the Influence of Indonesian Culture on Art and Architecture in The Netherlands
Ever since I started studying Art Nouveau, and the Dutch variation Nieuwe Kunst in particular, I have admired art-dealer and -historian Frans Leidelmeijer. He was one of the first to recognise our Dutch contribution to the international Art Nouveau movement. Frans Leidelmeijer and his late partner Daan van der Cingel started collecting and selling Nieuwe Kunst; and soon they published books about this Dutch contribution to Art Nouveau. Over the years their Art Gallery sold many important pieces to esteemed museums like the Rijksmuseum, the V&A, the Wolfsonian, Centre Pompidou and the Metropolitan.
Frans Leidelmeijer
Frans Leidelmeijer (Bandoeng, 1942) published his first book about Nieuwe Kunst in 1983. Until then, this Dutch variation of Art Nouveau was largely unknown. And unknown makes unloved. Frans understood that if he wanted to sell more Nieuwe Kunst from his art gallery, he first needed to create awareness and appreciation. After the first book more books followed. And several important exhibitions in addition to that.
When Frans Leidelmeijer realised that Indonesian culture has had an important influence on Dutch styles such as Nieuwe Kunst, the Amsterdam School and Art Deco, he became very excited by that cross-pollination. His fascination got stronger after his first visit to Indonesia in 1983, since his departure in 1951. In the major cities of Sumatra and Java he was confronted with colonial architecture, which to his surprise often bore the same style characteristics as architecture in the Netherlands. He felt like a kid in a candy store and became emotional: “I realised, this is part of my identity”.
First, Frans thought of publishing a book about the subject. But that plan never materialised. Then he got an even better idea: he decided to make a documentary.
A Brief Introduction
Only at the end of the 19th century, after more than three centuries of colonisation, did the Dutch start to take an interest in the culture of their colony, partly under the influence of Japonism and Orientalism. Before that, the cultural elite of the Netherlands looked down on Indonesian culture. (Except for a few visionaries like Frederik van Eeden, director of the Colonial Institute in Haarlem (opened 1871), Pieter Johannes Veth, Indologist, and Gerret Pieter Rouffaer, explorer and collector.)
1883 Intern. Colonial & Export Exhibition, Amsterdam, Dutch Pavilion
An important event was the World Exhibition of 1883, officially the International Colonial and Export Exhibition, which took place in Amsterdam on the grounds behind the Rijksmuseum. An exhibition in which other colonial powers also participated. The Netherlands hosted a large pavilion where products and artefacts from the Archipelago, like Batiks, were presented. After the exhibition ended, the artefacts were distributed to various museums, including the Ethnographic Museum of Artis.
Stille Kracht – Batik Bookbinding by Chris Lebeau 1900
There, young design student Carel Adolph Lion Cachet (1864-1945) saw the batiks and was immediately captivated by their beauty and artisanal technique. The story goes that the next day he took the sheet off his bed and started experimenting with batik, which makes him the first western batik maker. Many artists would follow after him: Gerrit Willem Dijsselhof, Chris Lebeau and Johan Thorn Prikker. However, although the batik technique was adopted in The Netherlands, the traditional designs were not. Dutch batik had contemporary decorations in Art Nouveau (Nieuwe Kunst), Amsterdam School or Art Deco design.
Dijsselhof-room with Batik Wall Panels, 1895
And whereas in Indonesia, the batik technique was used to decorate mainly clothing, in the Netherlands it was used to decorate objects, like furniture and bookbindings. A typical Dutch batik style would arise. This style would in turn influence batik companies of Indo-European ladies in Java, whose clientele were Dutch, Indo-Dutch and Indo-Chinese ladies. In the end the batik technique would spread all over Europe, and even to the USA, when Dutch designers started teaching at foreign Arts & Crafts schools. And this is just one example of the cross-pollination that took place between the Dutch and the Indonesian culture.
Batik Tea Cosy, by Bertha Bake, 1906-1910
The Documentary Cross-Pollination
And now, the enchanting allure of this cross-pollination between the Indonesian and the Dutch culture has culminated in a fascinating 2-part documentary. In the first part of the documentary, Frans Leidelmeijer talks about the influence of Indonesian culture on applied art and architecture in the Netherlands in the period 1890-1940. The film toured cinemas all over The Netherlands in 2022. And it is now available online. So sit back and enjoy this wonderful journey with Frans Leidelmeijer.
The second part of the documentary premiered on 12 Februari 2023. This part – filmed on Java – shows striking examples of the same mutual influence in applied art and architecture, yet in Indonesia. The film is currently touring cinemas in The Netherlands. As soon as the second part is uploaded to youtube as well, I will share it with you. For now, here’s the trailer of Part II to whet your appetite:
Directing, camera and montage: Bie Muusze (Toonbeeld Filmproducties)
NB. At the moment there’s also a small exhibtion about this topic at Museum Het Schip in Amsterdam. You can learn more about the exhibition at the website of the museum.
Continue Reading:
Indonesia and the Amsterdam School – Webinar Museum Het Schip
Indonesië en de Amsterdamse School – Museumtijdschrift
A tête-à-tête with holland’s most iconic expert on 20th century applied arts
Modern Dutch Design – The Wolfsonian
www.kruisbestuivingfilm.nl
www.leidelmeijer-familie.nl
http://myfirstdesigncollection.nl
