JASPER KRABBÉ

CLOSER TO YOUJA

SP

ER

KR

AB

BÉ

2

3

4

5

JASPER KRABBÉ

CLOSER TO YOU

8

Closer to you

“You can never find someone’s identity in a single fixed image,” says Jasper

Krabbé’. “Today, in this era of Facebook and instant information, there are

hundreds and thousands of images out there, often showing exactly the same

subject. Like on a Google search, I was interested in discovering whether from

a huge number of images, one complete picture can finally emerge. From my

many images of Floor, both exuberant and withdrawn, I hope what comes out is

the reality of who she is.“

Whether highly realistic or merely a few minimal lines showing a profile,

Jasper’s recent drawings continue the long tradition in which the portrait

represents the purest relationship between the interpretation of an image and

its context. Employing various materials, in a mismatch of styles and framing,

two hundred of his portraits of Floor, most of them reproduced in this book,

are also installed in broken order in the Kunsthal in Rotterdam. He decided

to limit his series to a precise period – twelve months in the life of the woman

with whom he has been together for 15 years. He set out to encompass all

the emotional subtleties and exaggerations, honesty and secrecy, to overlap

the territory between intimacy and public behaviour. The result provides a

panorama of visual obsession, close surveillance and undeniable affection. She

is shown with make-up, and without make-up, wearing fashionable clothes and

nude. Sometimes she poses with confidence, sometimes she appears uncertain.

“I’m fascinated by all the different appearances she has. Floor has so many

distinct looks, from melancholic and silent, to being brutally shameless in-your-

face. This is also reflected in the way each portrait is made. Some are confined,

literally boxed-in with paint. Some are isolated in solitude, others are open, less

cropped, more relaxed. The difference in her mood is translated through the

technique, although sometimes it’s the other way around.”

This creates an ever-changing point-of-view, a celebration of diversity, free from

repetition. Each sequence of portraits is created using different techniques and

shifting moods. Images and references are combined, the perspective is altered.

The atmosphere partly depends on the way each scene is set-up. The narrative

lies in the intimacy itself, focusing on the small moments in a larger life-story.

“It’s a declaration of love, and a method of research, but it’s in no way scientific.

I’m trying to get closer to the woman with whom I live. It’s about getting

through layers to find the true identity.”

9

In Jasper’s imagery, Floor’s attitude ranges in scope from the brazenly sexual

to the bored, as she undertakes the casual activities of domestic life. The artist

himself refers back to Bonnard’s wife portrayed in the bath, or stepping out of

the bath, and the women in the paintings of Balthus, combing their hair. Jasper

notes that he has been partly inspired by artists long gone, by the shadows

and silhouettes of Modigliani, Schiele and Munch, and the erotic drawings

of Ingres, but also by his younger contemporaries. However, he is equally

inspired by the visual language of film-posters, street art, old trading cards and

packaging.

In many of his early paintings, Jasper depicted objects and architectural details

including Thai statues, Moroccan arabesques and Italian columns to fix them

to precise geographical locations. In his recent portraits of his wife, this is less

obvious. She has been depicted at home in Amsterdam, in London, in Spain,

in the south of France, in hotel rooms, and in such hopelessly romantic places

as Bali, Biarritz and Curaçao. The location, however, is less important than her

reaction to her surroundings, seen in the angle of her face, the tilt of her head,

the direction of her gaze. We often see her located in transit, in unscripted

moments such as when she is looking for duty-free lipstick at Schiphol airport.

Jasper’s representations themselves cross many stylistic boundaries, the

academic versus the refined versus the rough. Many take a graphic approach.

These are far from romantic, resembling instead instructional illustrations or

meticulous sketches for a brochure.

Other works are not strictly classical portraits at all, maybe only showing the

back of Floor’s head, a highlighted limb, or several superimposed images.

Reveling in their own brand of originality, some of these works are like those

out-of-focus snapshots you immediately discard, but which in fact might be

more honest representations of a person than the flattering, staged photos

shown to friends. However, even with only the use of a few lines of dull colour,

the close bond between the artist and his subject is immediately evident.

“Some of the pictures are almost deathly portraits, in which the light alludes to

life. I wanted to freeze the silent atmosphere. Floor is asleep. In my mind, this

also incorporates the emotion of being able to think that she might not be here.

You try to put this emotion of loss into the image. So I think that several of my

drawings reveal a morbid feeling, perhaps with a mask-like face.

10

11

I have also made a few pictures in which I think she is hiding, moments in which

she doesn’t want to be seen. At these times, she seems very distant. In a way, she

can be very shy. But it’s still all part of me being continually on her case, non-

stop.” Jasper pauses, then he shrugs with a smile. “You don’t want to make your

own wife into an object, but ….”

I’ve known Jasper, and followed his work, since he was still a teenager. I’ve been

Floor’s friend for as long as she has been together with Jasper. And from the

very beginning, I’ve also known her through Jasper’s eyes, mirrored, reflected

and transformed in his watercolours, drawings, rushed ink sketches and rough

paintings, as well as in a couple of his large-scale portraits on canvas. Over this

time, in different cities, I’ve also curated several shows of Jasper’s paintings and

drawings.

Today, Floor is cooking in the kitchen. She is using several pots and pans on the

stove at the same time, plus lots of chopped garlic. I’ve flown in from Rome and

I am visiting Jasper and Floor in their Amsterdam house. We’ve just shared a

bottle of red wine together. But now, Jasper is driving one of his daughters to a

dance-class on his motorbike.

So here I am, alone with Floor and a couple of ginger-coloured cats. Sometimes,

the joy of being an observer, like the thrill of being an artist, is that you don’t

necessarily need to be impartial.

The fact that Floor is a beautiful woman is an objective truth. The fact that in

her professional life, she is a doctor specialized in aesthetic medicine, makes

this anatomical focus additionally fascinating. She is a beautiful woman, in

no need of cosmetic help, working in the field of making other women more

beautiful, and feel more attractive. She is a natural beauty, assisting in the

rejuvenation and synthetic beauty of other women. And she is the ongoing

subject of an artist, her husband, who sees this beauty in all its many facets and

moods, on a daily basis. Jasper even paints Floor while she is dreaming.

So I mention to Floor that in the 1960s and 1970s, David Hockney regularly

drew his young Californian partner Peter Schlesinger while he was asleep, or

laying in the sun, or reading, or whenever else Schlesinger wasn’t aware he was

being scrutinized. Hockney turned Schlesinger into his complicit model, and

one of the few authentic male muses of the 20th century. But eventually, this

constant attention made Schlesinger feel that the artist’s voyeurism was invasive

and intrusive, even an imposition.

12

Floor responds. “I don’t feel that I am being watched, not at all. But if I was,

I would like it. If I’m reading a book, and Jasper is making a portrait, that’s fine.

Sometimes I don’t even realize that he is drawing me. I trust him. I trust that he

won’t make me scary or ugly. We’ve been together so long, I find it unusual that

he still spends time looking so closely at me. Even after all these years.”

“Of course, I like some of his images more than others, but even so, I still have a

distance from them. They aren’t me. They are pictures of me.”

Jasper Krabbé is best known for his vast oil paintings of sparse landscapes in

bleached colours and his composite works, resembling schematic diaries, in

which hundreds of pages from small notebooks are affixed in neat rows to broad

canvases. The human figure often appears as a fragment in a larger setting.

He also produces reams of smaller works, including jewel-like self-portraits.

Five years ago, one hundred of these self-portraits were gathered together in a

book, as a volume dedicated to the equal roles of artistic perception and self-

perception, as a manual of gestural bravura.

Jasper notes that a sense of confrontation exists in his paintings of Floor,

revealing different layers of annoyance and aggravation to those which are

present in his self-portraiture. “When the subject is outside of me, it clearly

gives me distance. The subject is over there, not in your own skin, not pricking

at your nerves. So my pictures of Floor are not as introverted as my self-

portraits. They don’t seem so lonely. They are softer, more gentle, caught with a

looser hand. With myself, I seem to be tougher, constantly angry.”

In the series dedicated to his wife, the materials and frames are almost always

used, second-hand, or found. Her face emerges from the surface of torn

cardboard, handmade watercolour paper, wooden panels, and note book

pages. Her features are outlined and shaded in lead pencil, crayon, watercolour,

gouache, charcoal and thin paint. The techniques are opaque. The finished

works often appear damaged, oxidized, fragile yet resilient.

“I am drawing on paper which is not meant to be drawn on. It’s too thin and

it tears. Or it is a strip of hard cardboard that shows rubbed marks and dents.

The ink catches on the paper. I achieve these effects for free, from these older

materials I use. Chance helps the end result. The pencil line doesn’t stick

properly to the raw cardboard. The paint forms a pool. It gives a disturbance

which I really like, and it adds to the idea that the picture belongs to the moment

in which it is created. It’s also connected to the idea that Floor is ageless, so a

portrait of her might have been produced in the Renaissance, or in the 19th

century, or ten minutes ago.”

13

In some portraits, the paper provided the starting point, in others, the painting

was inspired by a particular junk-shop frame. The more elaborate frames make

a bold statement, others draw little attention. Some are made from plastic and

cost 50 cents to buy, others are antique, gilded and expensive. In their diversity,

they punctuate the wall like Morse Code.

“I bought several Indian frames from a store in Paris. They were meant for

devotional images, or holy texts, the focus of a daily offering, to be worshipped

every day. They spoke to me about the spiritual aura of a physical object.

Besides their age, their function was very much in line with my idea of my

portraits of Floor as being part of a shrine. The Indian frames show the signs

of change over time. The varnish has peeled off. Some of the glass was already

broken, so I have left it that way. But I also like the humbleness of someone who

has bought a cheap frame from a supermarket, not as an aesthetic choice, but as

a practical one.” For Jasper, it is essential that all the works come together in the

single idea that Floor could have been born at any time. She is an ageless beauty,

simultaneously ancient and contemporary, depicted using the aesthetics and

incidental beauty of chance.

“I like the space, the shift, between all the different styles I use. For example,

an abstract, primitive mood in one painting only becomes apparent when the

work itself is finished. In retrospect, I see the influence of African sculptures.

I suppose you can say that the true link filling all the spaces in between, is my

hand. And how I see Floor, through my portraits of her. The more personal it is,

the more universal it becomes.”

Jonathan Turner

22

23

24

26

27

28

30

31

32

34

35

36

37

38

40

257

INDEX

258

37Coloured crayon on cardboard 25.5 x 19.5 cmIbiza 2010

39 Watercolour on paper 24.5 x 32.5 cmLondon 2011

40Pen and collage on paper 26.5 x 20 cmAmsterdam 2011

40Pen on cardboard 16 x 12 cmBiarritz 2010

41Graphite on paper 25.5 x 19.5 cmArles 2010

25Indian ink and graphite on paper 35 x 27 cmAmsterdam 2010

26Graphite on paper 33 x 25 cmSan Sebastian 2010

27Coloured crayon on paper 23 x 20 cmAmsterdam 2010

29Crayon on cardboard 26.5 x 21.5 cmPuymeras 2010

30Coloured crayon on paper30.5 x 23 cmDalfsen 2010

31Graphite on paper 24.5 x 31.5 cmPuymeras 2010

33Indian ink on paper 32.5 x 25 cmAmsterdam 2010

34 Coloured crayon on paper 32 x 26 cmDalfsen 2010

35Watercolour and graphite on cardboard 32 x 26.5 cmSt. Paul de Vence 2010

36 Watercolour on paper 34 x 26 cmArles 2010

259

56Watercolour on cardboard 30 x 20.5 cmClaviers 2010

57Watercolour and graphite on cardboard 28.5 x 23.5 cmAmsterdam 2010

59Ink on paper 37.5 x 23.5 cmParis 2010

60Crayon on paper 29.5 x 21.5 cmDalfsen 2010

61Coloured crayon on paper 20 x 15 cmCuraçao 2011

43Coloured crayon on paper 26.5 x 20 cmSan Sebastian 2010

44Coloured crayon on paper 18.5 x 13.5 cm Puymeras 2010

45Graphite and coloured crayon on cardboard 23 x 28.5 cmBiarritz 2010

47 Coloured crayon on cardboard 23.5 x 20.5 cmAmsterdam 2010

48 Graphite on paper 25 x 31 cmClaviers 2010

49Coloured crayon on cardboard 22 x 21 cmSan Sebastian 2010

50Ink and graphite on paper 31.5 x 26 cmBiarritz 2010

51 Graphite on paper 34 x 26.5 cmVence 2010

53Indian ink and graphite on paper 31.5 x 25.5 cm Amsterdam 2010

54Coloured crayon on paper 25 x 32.5 cmDalfsen 2010

260

75Ink on paper 34 x 26 cmAmsterdam 2010

76Graphite on paper 19.5 x 25.5 cmSan Sebastian 2010

77Coloured crayon on cardboard 34.5 x 24.5 cmSan Sebastian 2010

79Watercolour on paper 32.5 x 24.5cmClaviers 2010

80Coloured crayon on paper 18 x 13 cmSt. Paul de Vence 2010

63Watercolour and coloured crayon on paper32 x 26 cmSt. Tropez 2010

64Coloured crayon on paper 22 x 17 cmCuraçao 2010

66Watercolour on paper 30 x 22 cmDalfsen 2010

67 Ink and crayon on paper 37 x 29 cmRamatuelle 2010

68Watercolour on paper 26.5 x 21.5 cmDalfsen 2010

69Ink on paper 35 x 27 cmParis 2010

70 Watercolour on paper 31.5 x 25 cmDalfsen 2010

72Coloured crayon on cardboard 25 x 17 cmParis 2010

73 Coloured crayon on paper 26.5 x 20.5 cmAmsterdam 2010

74Graphite on paper 48.5 x 41 cmParis 2010

261

93 Watercolour on paper 28.5 x 23.5 cmAmsterdam 2011

94Watercolour and graphite on paper29.5 x 24.5 cmParis 2010

96Pencil on cardboard 36 x 28 cmDalfsen 2010

97Graphite on paper 44.5 x 33.5 cmNuits St. Georges 2010

98Watercolour on paper 24.5 x 32.5 cmLondon 2011

81 Coloured crayon on paper 25 x 31 cmSan Sebastian 2010

83Coloured crayon on paper 28 x 23 cmClaviers 2010

84Coloured crayon on paper 22.5 x 17.5 cm Claviers 2010

85Coloured crayon on paper 22 x 17 cmArles 2010

87Coloured crayon on cardboard 27.5 x 22.5 cm Paris 2010

88Watercolour on paper 34 x 26 cmBloemendaal 2010

89Coloured crayon on paper 21.5 x 27.5 cmKlein Curaçao 2010

90Watercolour and graphite on paper 32 x 22.5 cmFaucon 2010

91Ink on paper 26 x 20 cmDalfsen 2010

92Graphite on paper 20 x 15 cmSan Sebastian 2010

262

115Watercolour and graphite on paper 33 x 25 cmClaviers 2010

117Ink on paper 32.5 x 24.5 cmClaviers 2010

119 Watercolour on paper 32 x 22.5 cmAmsterdam 2010

120Indian ink on cardboard 37 x 30.5 cmAmsterdam 2010

122Watercolour and graphite on paper 19.5 x 14.5 cmAmsterdam 2010

99Ink on cardboard 37.5 x 34 cmParis 2010

101Watercolour and coloured crayon on paper 45.5 x 35.5 cmAmsterdam 2010

102Coloured crayon on cardboard 26 x 21 cmParis 2010

104Watercolour and graphite on cardboard 18.5 x 26 cmSan Sebastian 2010

105Coloured crayon on cardboard 32 x 23 cmParis 2010

106Graphite and watercolour on paper 26 x 45.5 cmAmsterdam 2010

108Coloured crayon, watercolour on paper 34 x 26 cmSt. Tropez 2010

111Watercolour on paper 33 x 25 cmBilbao 2010

113Coloured crayon on paper 30.5 x 22.5 cmOmmen 2010

114Coloured pencil on paper26 x 34 cmAmsterdam 2010

263

136Graphite and watercolour on paper 25 x 32.5 cmSt. Paul de Vence 2010

137Red chalk on paper 33 x 25 cmParis 2010

138Graphite on paper 26 x 20.5 cmSt. Paul de Vence 2010

139Pen on cardboard 27 x 21.5 cmAmsterdam 2010

140Indian ink on cardboard 23 x 28 cmAmsterdam 2009

123Graphite on cardboard 32.5 x 28 cmRamatuelle 2010

124Watercolour and graphite on paper 32.5 x 24.5 cm.San Sebastian 2010

126Watercolour and graphite on paper 32 x 26 cmClaviers 2010

127 Coloured crayon on cardboard 23.5 x 17.5 cmMadrid 2010

129Watercolour on paper 41 x 33.5 cmParis 2010

130Graphite on cardboard 34 x 26.5 cmCuraçao 2010

131Graphite on cardboard34 x 25.5 cmAmsterdam 2011

132Coloured crayon on paper 27 x 22 cmFaucon 2010

133Watercolour and coloured crayon on paper 29 x 23 cmAmsterdam 2011

135Watercolour on paper 32.5 x 24.5 cmDalfsen 2010

264

153Watercolour and tape on cardboard 27.5 x 22 cmParis 2010

154Watercolour on paper 26 x 34 cmSt. Jean de Luz 2010

155Watercolour on paper 34 x 26 cmAmsterdam 2010

156 Watercolour on paper 26 x 34 cmAmsterdam 2010

158Coloured crayon and watercolour on cardboard 27 x 35 cmBali 2011

141Graphite on cardboard 20.5 x 32.5 cmDalfsen 2010

142Graphite on paper 45 x 50 cmAmsterdam 2010

143Indian ink on paper 47 x 37 cmAmsterdam 2011

144 Ink on paper 32.5 x 24.5 cmAmsterdam 2010

145Watercolour and indian ink on paper 42 x 32.5 cmAmsterdam 2009

146Watercolour and graphite on paper 32.5 x 24.5 cmSt. Jean de Luz 2010

148Coloured crayon on paper 27 x 23 cmDalfsen 2011

149Coloured crayon on paper 23 x 18 cmAmsterdam 2011

150Graphite on cardboard and paper 33 x 42.5 cmAmsterdam 2010

152Watercolour and graphite on paper32.5 x 24.5 cmBiarritz 2010

265

173Coloured crayon on cardboard 25 x 20 cmArles 2010

175 Coloured crayon on paper 47 x 36 cmBali 2011

177Watercolour and graphite on paper33.5 x 25 cmClaviers 2010

178Coloured caryon on cardboard 24 x 41 cmDalfsen 2010

179 Graphite on cardboard 27 x 22 cmDalfsen 2010

159Coloured crayon on paper 17 x 12.5 cmDalfsen 2010

161Graphite on paper 37 x 28.5 cmParis 2010

162Coloured crayon on cardboard 20 x 25 cmSan Sebastian 2010

163 Watercolour on paper 34 x 26 cmBiarritz 2010

164Coloured crayon on paper 27 x 37 cm Mallorca 2011

167Coloured crayon on cardboard 30 x 23 cmKlein Curaçao 2010

168Watercolour on cardboard 23 x 34 cmDalfsen 2011

169Coloured crayon and graphite on cardboard 18 x 30 cmCuraçao 2011

171Coloured crayon on cardboard 27 x 22 cmCuraçao 2011

172Coloured crayon on cardboard 31.5 x 23.5 cmLondon 2010

266

194Coloured crayon on paper 53.5 x 43.5 cmAmsterdam 2011

195Coloured crayon on paper 41 x 37 cmAmsterdam 2010

196Graphite on paper 43.5 x 33.5 cmAmsterdam 2010

197Graphite on paper 31 x 27.5 cmMaastricht 2011

198Graphite and watercolour on paper 30.5 x 24.5 cmAmsterdam 2010

180Watercolour on cardboard 31.5 x 23 cmSan Sebastian 2010

182Coloured crayon on paper 36 x 27 cmDalfsen 2011

183Watercolour on paper 32 x 27 cmBali 2011

184Watercolour on paper 28.5 x 22.5 cmParis 2010

185Watercolour and tape on paper 36.5 x 26.5 cm Amsterdam 2011

187Coloured crayon on paper 32 x 27.5 cmLondon 2011

188Watercolour on paper 42 x 50.5 cmOmmen 2011

190Coloured crayon on paper 13 x 17 cmPuymeras 2010

191Watercolour and graphite on cardboard 42 x 24.5 cmMallorca 2011

192Graphite on paper 31 x 25.5 cmLondon 2010

267

212Coloured crayon on paper 28 x 21 cmAmsterdam 2011

213Coloured crayon on cardboard 31 x 26.5 cmMallorca 2011

214Graphite graphite on paper 44 x 57 cmBali 2011

216Watercolour and graphite on paper 32.5 x 24.5 cm Puymeras 2010

217Watercolour and graphite on paper 32.5 x 24.5 cm Faucon 2010

199Graphite on paper 57 x 44 cmAmsterdam 2011

200Watercolour and graphite on paper 31 x 26 cmRamatuelle 2010

201Coloured crayon on cardboard 32.5 x 27 cmBiarritz 2010

202Watercolour and crayon on paper 34.5 x 26 cmPuymeras 2010

205Watercolour on paper 31.5 x 24 cmAmsterdam 2010

206 Coloured crayon on cardboard 32.5 x 27.5 cmMaastricht 2011

207Coulored crayon on paper 32 x 25 cmAmsterdam 2011

208Graphite on paper 33.5 x 24.5 cmAntwerp 2011

209Coloured pencil on paper26 x 34 cmLondon 2011

211Graphite on paper 27 x 20 cmLondon 2011

268

232Coloured crayon on cardboard 26 x 21 cmAntwerp 2011

233Coloured crayon on paper 41 x 30 cmAmsterdam 2010

235Graphite on paper 32 x 22.5 cm Amsterdam 2011

236Indian ink on paper 25 x 20 cmAmsterdam 2010

237 Coloured crayon on cardboard 40 x 32 cmFaucon 2010

219 Coloured crayon on paper 44 x 33 cmBali 2011

220Watercolour and graphite on paper 33 x 25 cmSan Sebastian 2010

221Watercolour on paper 33 x 25 cmAmsterdam 2010

223Graphite on paper 55 x 42 cmAmsterdam 2011

224 Graphite on paper 31.5 x 26 cmClaviers 2010

226Watercolour and graphite on paper 32.5 x 24.5 cmSan Sebastian 2010

227Coloured crayon on paper 31 x 23.5 cmPort de Soller 2011

228 Coloured crayon on paper 23.5 x 20 cmAmsterdam 2010

229Watercolour on paper 26.5 x 20 cmAmsterdam 2011

231Watercolour, graphite on paper 57 x 44 cmAmsterdam 2011

269

251Graphite on paper 26.5 x 21.5 cmDalfsen 2011

253 Coloured crayon on cardboard 42.5 x 32 cm Amsterdam 2010

254Watercolour on cardboard 23 x 24 cmAmsterdam 2010

6Florrie (Swan)Oil on canvas230 x 140 cmAmsterdam 2011

10Coloured crayon on cardboard23 x 17 cmLondon 2011

238 Coloured crayon on cardboard 20 x 23 cmMallorca 2011

239 Crayon on cardboard 30 x 25.5 cmOmmen 2011

241Coloured crayon on paper 32.5 x 27.5 cmSoller 2011

242Indian ink on cardboard 43.5 x 43.5 cmLondon 2011

244Watercolour on paper 25 x 33.5 cm Dalfsen 2010

245Indian ink on paper44.5 x 36 cmAmsterdam 2011

246Graphite and watercolour on paper 32.5 x 24.5 cmClaviers 2010

247Graphite and tape on paper 19.5 x 25.5 cm Amsterdam 2010

249Watercolour and graphite on paper 48 x 38 cmAmsterdam 2011

250Graphite on paper 19.5 x 25.5 cm Amsterdam 2010

270

271

272

COLOPHON

WBOOKS, ZWOLLE INFO@WBOOKS.COM WWW.WBOOKS.COM

WWW.JASPERKRABBE.COM

DESIGN AND CONCEPTJASPER KRABBÉ

GRAPHIC DESIGNRICHARD VAN DER HORST

PHOTOGRAPHY © ANNE DOKTER (pgs. 2, 4, 14, 270) © CARMEN KEMMINK (pg. 1) © PHOTOGRAPHY AND IMAGE EDITING KEES KUIL ADDITIONAL PHOTOGRAPHY JASPER KRABBÉ (pg. 22)

TEXT JONATHAN TURNER PIETJE TEGENBOSCH

TRANSLATION ARTICLE PIETJE TEGENBOSCHJANEY TUCKER

DTP FREDDY ABRAHAMS PRINT PRINTER TRENTO

JASPER KRABBÉ WOULD LIKE TO THANK RICHARD VAN DER HORST FOR HIS KEEN EYE. KEES KUIL FOR HIS PATIENCE AT THE SCREEN. ANNE DOKTER FOR HER PICTURES OF THE STUDIO. CARMEN KEMMINK FOR HER PICTURE ‘IN DE NIS’. EMILY ANSENK AND JANNET DE GOEDE AT DE KUNSTHAL. HANS VAN DE WILLIGE, CARIJN OOMKENS AND TJEERD DAM AT WBOOKS. JONATHAN TURNER FOR HIS ENDURING SUPPORT. PIETJE TEGENBOSCH FOR JUMPING IN AT THE LAST MOMENT. EXCELLIJST, L’ENCADREUR, MERTENS.CHRISTINE BERTHOLLIER IN PARIS FOR THE INDIAN FRAMES. SIET ZUYDERHOF FOR THE BUNCH OF FRAMES HE STILL HAD LYING AROUND. JAN SIX FOR THE 17TH CENTURY FRAMES.

AND LAST BUT NOT LEAST FLORRIE WHO SAT FOR EVERY PAGE.

THIS BOOK WAS PUBLISHED ON THE OCCASION OF THE EXHIBITION JASPER KRABBÉ CLOSER TO YOU KUNSTHAL ROTTERDAM, FEBRUARY 23 - MAY 20, 2012 WWW.KUNSTHAL.NL

© 2012 jasper krabbé © 2012 wbooks / the authors ALL RIGHTS RESERVED. NO PART OF THE CONTENTS OF THIS BOOK MAY BE REPRODUCED OR TRANSMITTED IN ANY FORM OR BY ANY MEANS, ELECTRONIC OR MECHANICAL, INCLUDING PHOTOCOPY, RECORDING, OR ANY OTHER INFORMATION STORAGE AND RETRIEVAL SYSTEM, WITHOUT THE PRIOR WRITTEN PERMISSION OF THE COPYRIGHT HOLDERS.

THE PUBLISHERS HAVE MADE EVERY EFFORT TO ACKNOWLEDGE THE COPYRIGHT OF WORKS ILLUSTRATED IN THIS BOOK. SHOULD ANY PERSON, DESPITE THIS, FEEL THAT AN OMISSION HAS BEEN MADE, THEY ARE REQUESTED TO INFORM THE PUBLISHERS OF THIS FACT.

image back covergraphite on paper19.5 x 25.5 cmst.tropez 2009

isbn 978 90 891 0280 5 isbn 978 90 400 0718 7 (special edition) nur 653