275:), and corporate identities (e.g., for Versteeg Glass and Paint). More and more companies, institutions and municipalities, especially in the east of the Netherlands, commissioned Paalman's designs. After his marriage to Annemieke Huiskes in 1971, he moved to Hengelo, where he lived and worked until his death. For more than forty years he had a studio on Emmaweg, a former greengrocer, where Annemieke also had a shop until 1990, selling curiosities and clothing. In the following years, Paalman used the shop windows as an exhibition space. In addition, he participated in numerous exhibitions in the region and in the virtual Museum for Contemporary Art Hengelo (MHHK, curator Ricardo Liong-A-Kong).
389:. But his music interests were very broad; later in life he also sang in two choirs. Daily life was an important subject for Paalman's work, as were his immediate environment and those close to him. In addition to official assignments, he frequently made designs for family and friends, including wedding cards, birth announcements and invitations for various gatherings. In his autonomous work he also often focused on his immediate environment, in particular that of his family. He made a large number of photographs, drawings, paintings and etchings of his wife Annemieke and their three children.
311:, demolition and construction plans, about which he was always critical. Due to the lack of historical awareness within the municipality, Paalman, together with SWWK member architect Henk Methorst, conducted research into the historical development of Hengelo, including text, photographs and maps. It would become the blueprint for the municipal care of monuments, monitored and directed by various artistic interventions later on. The subject of urban development is, more generally, also reflected in many of Paalman's drawings, photographs, paintings and etchings.
122:
160:, sculptures, drawings and paintings, which he focused more on from the 1990s onwards. This work encompasses representations of everyday things, portraits of people, animals and landscapes, visions of the city and commentary on political events, as well as constructivist compositions and abstract images. The work often has a somewhat alienating element. As a teacher, Paalman has passed on his vision, knowledge and skills to countless people, young and old, through educational programs, courses and workshops.
181:, but also various domestic issues. However, the majority of his work shows everyday things, situations and environments, seen in a different light, sometimes dark and desolate, sometimes colorful and uplifting. Paalman was particularly interested in the relationship between past and present, but his work is rarely explicitly historical in nature. Similarly, he was interested in art historical movements, especially
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given access to a former aviary in a park nearby (Prins
Bernhardplantsoen). Finally, in 2006, they moved to a pavilion of the town hall, which was renamed 'Agterhuis.' Paalman was chairman of Ag for 25 years (1988-2013). In addition to organizing projects, curating exhibitions and supervising exhibitors, together with other board members, he was also in charge of the graphic design of the foundation.
25:
416:. In the garden behind the house he also grew all kinds of plants and trees, some of which are rare in the Netherlands, such as fig tree, quince tree, a huge grape plant, a Turkish medlar and a lemon tree, while he was also very proud of the walnut tree behind his studio. Animals and plants are therefore frequent subjects of his visual work. In 2016, Paalman was diagnosed with
295:– inspired by his teachers at AKI, was not based on what people were expected to be able to do, but on what people actually could and wanted to do, driven by curiosity. For Paalman, discovering and showing how something can be seen and done differently was more important than meeting the requirements of a set standard. His approach has inspired many.
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Middelhoek and later seen as representative of work created by students in this period. In 1965, Paalman en
Rijnveld did an internship at De la Mar in Amsterdam, one of the main advertising agencies in the Netherlands. At the same time, Paalman followed the 'Advertising Assistant' course through the Leiden Educational Institutions (
201:. But a particular movement was never the starting point for his work. He preferred to engage with things that remained hidden or were considered unimportant, to allow for contradictions, and enable changes. He also switched effortlessly between abstraction and figuration, and between elaborate drawings and coincidental 'prints'.
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in the center of the city. “De Molen” became an important reference in the region. Numerous artists showed their work here or were otherwise involved, including many who had just graduated from the AKI and other academies in the
Netherlands. At the end of 1997, Ag had to leave the mill, and they were
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In the vacuum that arose after the dissolution of the BKR, Paalman and colleagues took the initiative to set up their own art foundation in
Hengelo. Thus, in early 1988, “Stichting Beeldende Kunst Ag” was founded by Fra Paalman, Gerard de Vries, Jozef de Bot, Frans Bolscher and Anne Wind (soon joined
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After working for a short time for advertising agency HBM in
Amsterdam (Hiemstra, Bouthoorn, Mulder), Paalman started his own agency in Enschede in 1968. That year also saw the establishment of the professional association Grafisch Vormgevers Nederland (GVN, later BNO), of which he became one of the
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photo camera and started taking photographs, and he was often found in the graphic workshop experimenting with various printing techniques. Together with fellow student Wim
Rijnveld, he made several remarkable booklets, such as “A246-NO399/BOEM”. They were enthusiastically received by director Arie
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Paalman did not make a fundamental distinction between design and art, but saw related practices with their own ways of expressing ideas. For
Paalman, an essential need or necessity, personal or social, was paramount when creating a work, regardless of routines and pretensions. He was averse to
271:(Roger Dal, 1969), which was republished in its original design in 2008. Paalman's portfolio expanded rapidly. He also designed posters (e.g., for the Lochem Pop Meeting, 1968, the first pop festival in the Netherlands), advertisements, labels, games, exhibition boards, flow charts (e.g., for
331:, the municipalities decided to work together, which was coordinated from Hengelo. Paalman was asked to design the corporate identity, including a logo, stationery and posters, as well as the design of various exhibitions, for example the exhibition “Art of Now” (1986), in
364:. The founding of Ag happened simultaneously with the organization of the manifestation 'Art on the Street', with art in public showcases, for which the foundation was a vehicle. But Ag also wanted a permanent exhibition space and in 1989 they found an old
385:(St. Joseph-Studiehuis). Paalman learned to play the violin at a young age and was able to continue this in Tilburg, under the guidance of the Hungarian violinist László Révész. At that time, Paalman developed a special interest in the music of composer
307:, SWWK), which supported the ever-growing number of artists in Hengelo by literally and figuratively finding space for artists in the city. In this way, Paalman also came into contact with municipal real estate policy,
335:, which was an attempt to bring art to the people. Together with colleague Gerard de Vries, Paalman also designed various publications for the BKR, which gave them space to experiment. The scheme ended in 1987.
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machine factory. His father took his work home with him, sowing Fra's lifelong interest in machines and technology. This was reflected, among other things, in Fra's car collection, including a
287:, and contributed to all kinds of educational programmes and projects. He taught different groups of people, both children and adults, beginners and advanced students, as well as
221:, Wim van Stek and Geert Voskamp, who were important sources of inspiration for him. They encouraged him to explore different pathways. By consequence, Paalman bought a 6 x 6
283:
As an extension of his practice as a designer and artist, Paalman was active as a teacher of drawing, painting and graphics at various educational institutions in
144:. Paalman designed, among other, book covers, brochures, posters, vignettes and corporate identities. As a graphic artist he made autonomous work too, especially
408:, which he often tinkered with in the summer. On the other hand, there was his strong interest in animals and plants. For example, he obtained a diploma as a
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173:. Some of his autonomous works, including etchings, collages and paintings, have a distinctly political character, including those relating to the
1276:
Haverkate, Herman (1994-06-18). "Kunstenaars na
Dubbelstad-echec op zoek naar identiteit van hun stad: "In Hengelo wordt destructief gedacht"".
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424:, an experiment with elderly artists. He spent the last year of his life in the Backenhagen nursing home in Hengelo, where he died in 2020.
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250:, where he worked for a year and a half. Here he designed various book covers, catalogues, brochures and forms, for example those for the
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327:, BKR) was introduced by the state as a way to support artists, which was implemented at municipal level. However, in the province of
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boasting, institutional interests, and financial gain. This was linked to his political vision. Paalman was an active member of the
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From the mid-1970s until the end of his life, Paalman was a board member of the
Foundation for Artists' Living and Working Space (
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420:. His wife Annemieke subsequently cared for and assisted him. At that time, Paalman became one of the first participants in the
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132:(March 13, 1945 – April 10, 2020), was a Dutch graphic designer, visual artist and art teacher, who lived and worked in
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first members. In his early years, Paalman mainly designed book covers, commissioned by various publishers, including
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847:
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1650:
1412:
Horst, Viola (January 1994). "Warum Raritäten Kunst sein konnten: Die
Wunderkammer in der Hengeloer MĂĽhle".
332:
35:
899:"Deze 20 Twentenaren zijn ons ontvallen in 2020: Fra Paalman (75), Hengelose kunstenaar, overleed in april"
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1371:(in Dutch). Commissie Complementaire Arbeidsvoorziening Beeldende Kunstenaars, Gemeente Hengelo (O). 1985.
417:
378:
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377:
Paalman attended primary school in his hometown of Hengelo and subsequently the minor seminary of the
500:
288:
231:
182:
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Fra Paalman was the son of Johanna Vos, dressmaker, and Jan Willem Paalman, head of planning at the
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730:
For example: Projectgroep moderne kunst van het Kunsthistorisch Instituut van RU Utrecht (1971).
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877:
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260:
267:, and Prisma. One of his best-known designs from that time is the cover of the Prisma pocket
1316:
Veenendaal, M.; Ikink, H.A.P.; Krabbenbos-Neijs, M.; De Vries, G.; Paalman, E.F.H. (1987).
1293:
Monument voor de BKR: De geschiedenis van een spraakmakende kunstenaarsregeling (1949-1987)
691:
Ter Brake, Alphons (1968-04-03). "Officieel vignet voor E.E.G. van Hengeloër Fra Paalman".
481:
Dannenburg, Fred (December 1992). "Mensen in de cultuur: Fra Paalman, grafisch ontwerper".
177:, military regimes in Latin America (especially Chile, Argentina and El Salvador), and the
149:
242:
After his studies, Paalman started working at the Netherlands State Printing House,
82:
666:
401:
351:
125:
Fra Paalman in his studio, in 2015, with one of his poster designs for BKR Overijssel.
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308:
222:
218:
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264:
1261:"Pleidooi tot behoud oude stad: Het is nog niet te laat voor 'het dorp Hengelo'".
1202:(in Dutch). Hengelo: Stichting Woon- en Werkruimten voor Kunstenaars in Hengelo.
361:
174:
141:
24:
1530:
1091:"Leraar Fra Paalman liet Hengelose stadhuistoren tekenen vanaf het caféterras"
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644:
605:
AKI, academie voor kunst en vormgeving, Enschede: Vijftig jaar kunstonderwijs
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1187:(in Dutch). Stichting Woon- en Werkruimten voor Kunstenaars in Hengelo ov.
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346:
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214:
178:
413:
382:
344:
by John Brunink). “Ag”, as the chemical symbol for the element silver (
198:
157:
145:
133:
450:"An Ontology of City, Art, and Time: Plotting the Work of Fra Paalman"
412:, which is of special significance in Hengelo, as is reflected in the
1488:"Smartlappenkoor Eignwies Hengelo | Smartlappenkoor Eignwies Hengelo"
876:(in Dutch). Zwolle: Stichting Culturele Raad Overijssel. p. 30.
284:
217:(1962–66). Here he was taught by, among others, Hans Ebeling Koning,
194:
1320:(in Dutch). Hengelo: BKR Overijssel, Gemeente Hengelo. pp. 7–8.
1431:
Beuzel, Hans (1997-12-13). "Kunstenaars De Molen in oude volière".
1035:
719:(in Dutch) (Archiefnr. 0739 ed.). The Hague: RKD. p. 55.
1508:
943:"Notes on the Personal Archive: A Response to Giorgia Piffaretti"
715:
Claassen, Tonny; Van Bragt, Ramses; Van Alphen, Babette (2013).
190:
540:
Pameijer, Johan (1984-08-20). "Zes Hengeloërs in stadhuishal".
1487:
18:
1509:"The Young Evergreens – The Young Evergreens popkoor Hengelo"
1008:(in Dutch). Hengelo: CREA, Centrum voor kunstzinnige vorming.
1078:(in Dutch). Hengelo: Twentsche Courant Tubantia. 2000-03-24.
667:"Japanse volkskunst, Staatsdrukkerij, F. Paalman, voor 1967"
1036:"Mavo-Veldwijk: Activiteitendag tgv Unicef met Fra Paalman"
1213:"Experimenteerplek beeldende kunst moet 'n impuls geven".
350:), was chosen because of Hengelo's identity related to its
607:(in Dutch). Rotterdam: Uitgeverij 010. pp. 108–109.
764:(in Dutch) (1st ed.). Groningen: Wolters-Noordhoff.
603:
Beenker, Erik; Ringenier, Dries; Voskamp, Geert (2002).
965:
209:
Paalman studied 'Publicity and Graphic Design' at the
923:(in Dutch). De Twentsche Courant Tubantia. 2020-04-13
762:
Wie deelt de lakens uit? Werkschrift Staatsinrichting
230:), to gain additional knowledge and skills regarding
1382:"Kunstenaarsstichting Ag krijgt wind in de zeilen".
1019:"Kunst van docenten bij jubileum Kreatief Centrum".
989:"Drukte bij inschrijvingen voor Scheppende Handen".
501:"Tribune 2/2002 EEN van de 27.291: Fra Paalman - SP"
354:- although it was later suggested that Ag stood for
1250:(in Dutch). Hengelo: N.V. Uitgeverij Smit van 1876.
749:(in Dutch). Alphen aan den Rijn: Samsom Uitgeverij.
49:. Unsourced material may be challenged and removed.
1549:"Bijenteeltvereniging Hengelo | Bijentuin Hengelo"
1463:"Brab. Conservatorium, Voordracht door leerlingen"
732:Kunst van nu: Encyclopedisch overzicht vanaf 1960
1600:"Schilderslinnen van Hengelose Fra blijft leeg"
529:(in Dutch). 1985-10-12. pp. 3 (Regio NN1).
848:"Hoe ontstond de Nederlandse festivalcultuur?"
525:"Kunst in Onderlangs: Expositie Fra Paalman".
1397:"'Kunst op straat' exposeert in de Passage".
628:Paalman, Fra; Rijnveld, Wim (February 1965).
592:. Enschede: Academie voor Kunst en Industrie.
483:Over het randje, cultureel tijdschrift Twente
299:Artists’ spaces, monuments, urban development
130:Euphrasius Franciscus Hendricus "Fra" Paalman
8:
917:"Hengelose kunstenaar Fra Paalman overleden"
1183:Heringa-Avéres, M.L., ed. (December 1976).
947:Mediapolis: A Journal of Cities and Culture
1265:(in Dutch). 1977-04-14. pp. Gewest 1.
1229:"Op de bres voor oude Twentse boerderijen"
1159:"Maja Ouwerkerk exposeert in Het Beaufort"
1074:"Een collage van kunst op stadhuisvloer".
905:(in Dutch). De Twentsche Courant Tubantia.
779:. Utrecht, Antwerpen: Aula / Het Spectrum.
1369:Jaarverslag 1985: BKR Gemeente Hengelo Ov
1063:(in Dutch). 1996-08-29. pp. Hengelo.
1059:"Gehandicapten krijgen cursus bij Crea".
993:(in Dutch). 1984-08-18. pp. Hengelo.
966:"Museum voor Hedendaagse Hengelose Kunst"
109:Learn how and when to remove this message
1318:Hoofdstuk III: Opdrachten BKR/Overijssel
1295:(in Dutch). Zwolle: Waanders Uitgevers.
1023:(in Dutch). 1993-11-29. pp. Almelo.
156:. His oeuvre also includes photographs,
120:
1109:"'Schilderen is voor mij een rustpunt'"
747:Samsoms moderne beslatingleidraad, 1969
433:
1606:(in Dutch). Twentsche Courant Tubantia
1529:Amivereniging Nederland (2007-06-02).
1006:Achttien kunstenaars/docenten van CREA
806:Qui suis-je? Psycho-jeux, psycho tests
305:Stichting Woon- Werkruimte Kunstenaars
1246:Paalman, Fra; Methorst, Henk (1977).
897:Van Ballegooij, Michel (2020-12-31).
760:For example: Van Wakeren, B. (1969).
489:(3). Enschede: Stichting CUTE: 31–34.
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1235:(in Dutch). 1973-03-30. p. A 3.
588:Paalman, Fra; Rijnveld, Wim (1964).
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47:adding citations to reliable sources
1357:(in Dutch). 1986-05-01. p. 15.
1450:(in Dutch). 2006-01-10. p. 4.
1331:Van Lenteren, Janke (1986-04-24).
1061:Dagblad Tubantia/Twentsche Courant
790:For example: Irvine, John (1969).
775:For example: Reiner, Hans (1969).
745:For example: Dekker, J.B. (1969).
577:(in Dutch). 1966-06-28. p. 5.
14:
792:De grondslagen van de natuurkunde
632:(in Dutch). Amsterdam: De la Mar.
319:In the Netherlands, in 1956, the
734:(in Dutch). Amsterdam: Elsevier.
717:Archief BNO en Rechtsvoorgangers
23:
1661:20th-century Dutch male artists
1574:"Fra Paalman: Kijk op het dier"
1435:(in Dutch). pp. Hengelo 3.
34:needs additional citations for
1553:bijenteeltvereniginghengelo.nl
1333:"Kunst kijken in het pretpark"
941:Paalman, Floris (2019-06-22).
211:AKI Academy for Art and Design
1:
1572:Uylen, Chantal (2010-04-19).
1461:Van Eijk, Kees (1961-07-11).
1291:Kuyvenhoven, Fransje (2020).
325:Beeldende Kunstenaarsregeling
244:Staatsdrukkerij en Uitgeverij
1089:Janssen, Bert (2020-04-18).
872:Boeschoten, Gerhard (1988).
794:(in Dutch). Utrecht: Prisma.
228:Leidse Onderwijsinstellingen
1656:20th-century Dutch painters
339:Visual Arts Foundation “Ag”
1697:
1636:Dutch contemporary artists
1531:"Ami 6 ophalen in Hengelo"
1467:Nieuwe Tilburgsche courant
1433:Twentsche Courant Tubantia
1278:Twentsche Courant Tubantia
1215:Twentsche Courant Tubantia
1004:Meyer, Carla, ed. (n.d.).
823:"Zelfkennis spelenderwijs"
555:"Exposities Fra Paalman".
643:Hell, Dolf (2018-02-11).
1666:20th-century printmakers
1248:Het dorp Hengelo in 1977
333:Slagharen Amusement Park
269:Zelfkennis Spelenderwijs
16:Dutch artist (1945–2020)
1646:Dutch graphic designers
1401:(in Dutch). 1989-01-26.
1386:(in Dutch). 1989-03-15.
1339:(in Dutch). p. 17.
1280:(in Dutch). p. 25.
1217:(in Dutch). 1995-09-04.
1113:www.hengelosweekblad.nl
964:Liong-A-Kong, Ricardo.
559:(in Dutch). 1988-06-07.
414:coat of arms of Hengelo
1578:Vier dagen van de week
1185:SWWK: Jaarverslag 1976
1165:(in Dutch). 2017-02-25
1140:(in Dutch). 2022-12-22
1115:(in Dutch). 2020-11-24
874:Vormgevers: Overijssel
695:(in Dutch). p. 3.
507:(in Dutch). 2002-02-01
457:FRAME Literary Journal
398:Citroën Traction-Avant
379:Mill Hill Missionaries
126:
1198:SWWK (October 1981).
238:Professional practice
124:
645:"Mokumse Verleiders"
422:kunstenaarssociëteit
289:mentally handicapped
232:visual communication
43:improve this article
1676:People from Hengelo
1671:Dutch male painters
1446:"Nieuw Agterhuis".
1351:"Kunst in Ponypark"
418:Alzheimer's disease
1448:Hengelo’s Weekblad
1384:Hengelo’s Weekblad
357:Aktiengesellschaft
291:people. Paalman's
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1399:Twentsche Courant
1263:Twentsche Courant
1138:Twentse Realisten
991:Twentsche Courant
804:Dutch edition of
777:Wijsgerige Ethiek
693:Twentsche Courant
571:"Kroon op Studie"
557:Hengelo's Dagblad
542:Hengelo’s Dagblad
448:Paalman, Floris.
406:Renault Estafette
261:Wolters-Noordhoff
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59:
58:"Fra Paalman"
55:
54:Find sources:
48:
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32:This article
30:
26:
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1608:. Retrieved
1603:
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1163:Het Beaufort
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829:. 2018-01-18
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99:January 2024
96:
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41:Please help
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