Age, Biography and Wiki

Constant Nieuwenhuys was born on 21 July, 1920, is a painter. Discover Constant Nieuwenhuys's Biography, Age, Height, Physical Stats, Dating/Affairs, Family and career updates. Learn How rich is He in this year and how He spends money? Also learn how He earned most of networth at the age of 85 years old?

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Age 85 years old
Zodiac Sign Cancer
Born 21 July, 1920
Birthday 21 July
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Date of death 1 August 2005
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Nationality

We recommend you to check the complete list of Famous People born on 21 July. He is a member of famous painter with the age 85 years old group.

Constant Nieuwenhuys Height, Weight & Measurements

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He is currently single. He is not dating anyone. We don't have much information about He's past relationship and any previous engaged. According to our Database, He has no children.

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Constant Nieuwenhuys Net Worth

His net worth has been growing significantly in 2022-2023. So, how much is Constant Nieuwenhuys worth at the age of 85 years old? Constant Nieuwenhuys’s income source is mostly from being a successful painter. He is from . We have estimated Constant Nieuwenhuys's net worth , money, salary, income, and assets.

Net Worth in 2023 $1 Million - $5 Million
Salary in 2023 Under Review
Net Worth in 2022 Pending
Salary in 2022 Under Review
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Source of Income painter

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Timeline

2005

Constant died on 1 August 2005 and was survived by his son and his three daughters, and by his widow and her daughter.

Constant, Avant le Départ (2005), 82 min - Constant died in the summer of 2005. Thomas Doebele and Maarten Schmidt filmed the artist during the last months of his life. They followed him and his dog, Tikus, on their daily stroll to the artist's studio, where he finished his last painting Le Piège.

New Babylon de Constant (2005), 13 min - New Babylon visually captured by Constant's son Victor Nieuwenhuijs and Maartje Seyfert.

1986

Cobra, a revolt against order (1986), 50 min - Documentary by Jan Vrijman about the meaning and influence of the COBRA group, then and now.

1974

In 1974 the New Babylon project officially came to an end with a large exhibition in the Gemeentemuseum Den Haag. Because he lacked room to store the vast collection of constructions, maquettes, maps and structures he sold them all to the museum. In 1999 Constant's New Babylon: City for Another Life, opened at the Drawing Center in New York. It was his first solo exhibition in the United States and was curated by Mark Wigley. There was a symposium conducted in conjunction with the exhibition.

1969

Constant returned to painting, watercoloring and graphics in 1969. Until the mid-1970s, the subjects of his imaginary world New Babylon still crowded his work. However, more and more, he was inspired by contemporary and political issues, including such things as the Vietnam War, African famine and Kosovo refugees. Marxism was a strong influence. Rudi Fuchs said in his foreword to the Catalogue of Constant Paintings in 1995: "there are people who consider Constant's later work as a return to tradition. I, however, do not share this opinion. Because I consider his later development from the 1970s as greater penetration into the garden of painting."

1968

Constant oder der Weg nach New Babylon (1968), 55 min - For ten years Constant worked on his New Babylon project as a reaction to the architectural and social reality. Film maker Carlheinz Caspari follows Constant and his visions.

1966

In 1966 Constant designed a fountain for the Kooiplein in Leiden. For years the structure didn't function and slowly withered. When the square was redesigned in 1999, the fountain was repaired. New equipment made sure that the shoppers were not bothered by the water.

1963

In 1963 The Gate of Constant was placed at the entry of a sports park in the west side of Amsterdam. Constant designed the forty-foot-high concrete structure as a commission for the Municipality of Amsterdam. For almost three decades the structure adorned the entry in anonymity until Rita Doets, a former employee of the municipality, left money in her legacy to construct an information sign next to the gate. Constant's widow, Trudy Nieuwenhuijs, was present at the inauguration.

1962

Accompanying Simon Vinkenoog to Constant's New Babylon (1962), 15 min - Lies Westenburg visits Constant at his studio with writer Simon Vinkenoog. Simon Vinkenoog and Constant discuss the ideas behind the New Babylon project.

1959

Constant did not join SI at that time. He objected to the SI on the ground that the movement seemed to be established mainly by artists who have their own interest at heart more than a common goal. When SI openly pleaded for 'unitary urbanism', as defined by Constant and Debord, Constant joined. An intensive correspondence between him and Debord followed. Constant wrote several theoretical articles for the French SI journal and staged events at several museums in Paris as well as the Stedelijk Museum in Amsterdam, where he showed his New Babylon series in 1959.

The success of the New Babylon show in 1959 prompted SI to plan a group exhibition there in April–May 1960. This exhibition would never take place. Disagreements in the group resulted in a split and several expulsions. In 1960 Constant left the group for the same reason he initially objected to joining. By 1961 no one remained of the original artistic core or tendency except Debord himself. though members more allied to the SI's political tendency remained.

1958

Gyromorphosis (1958), 7 min - In Gyromorphosis, film maker Hy Hirsh strives to display the kinetic qualities of the New Babylon structures of Constant Nieuwenhuys. One by one he puts parts of the structures in motion and films the details with colored lighting having them overlap each other, appear and disappear. He creates a sensation of acceleration and suspense suggested by the work itself.

1957

Debord wanted to establish an even more radical movement which would totally abandon the arena of fine art while solely focusing on questions of psychogeography, a total dissolution of boundaries between art and life. In 1957 he and Asger Jorn brought together the International Movement for an Imaginist Bauhaus and the Lettrist International by establishing Situationist International. They specifically denied their status as an art movement.

1956

In the summer of 1956 Asger Jorn invited Constant to Alba, Piedmont, Italy, for a congress dedicated to 'Industry and the Fine Arts' initiated by 'Mouvement pour un Bauhaus Imaginiste' (International Movement for an Imaginist Bauhaus). At this congress Constant presented his lecture Demain la poésie logera la vie in which he pleaded for a free architecture which could stimulate a creative lifestyle rather than impede it.In 1952 Debord had founded the Lettrist International for which he was a writer, filmmaker and strategic activist. The 'Lettrist International' were also at the Alba congress and they pleaded for a unitary urbanism (the synthesis of art and technology). Later that year Constant visited Debord in Alba, which proved to be an inspiration for both.

Back in Amsterdam after his stay in London, Nieuwenhuys started to focus mainly on architecture and the urban environment. The focal point of his work was finding out what potential added value art can provide in intensifying daily life, in which there is room for creative expression. He abandoned painting to work solely on his New Babylon project from 1956 to 1974.

The New Babylon project consisted of a series of models, constructions, maquettes, collages, drawings, graphics and texts expressing Constant's theories of urban development and social interaction. A few examples of spatial constructions for which he used modern materials like stainless steel, aluminum and perspex are Het Ruimtecircus (1956) (Spatial Circus) and Het Zonneschip (1956) (Sunvessel).

1952

After CoBrA Constant's work became more abstract. Back in Amsterdam in the summer of 1952 he developed an interest in spatial architecture and three-dimensional works. With Aldo van Eyck, whom he met during his CoBrA time, he created a space for the exhibition 'Man and House' at the Urban Museum Amsterdam from 1952-1953. In 1954 he worked on a project with Gerrit Rietveld. Together they created a model house for warehouses de Bijenkorf.

In 1952 Constant received a scholarship from the Arts Council of Great Britain to study in London for three months. There he met, amongst others, Henry Moore, Anthony Hill, Kenneth Martin, Ben Nicholson, Barbara Hepworth, Roger Hilton and Victor Pasmore. He found the art climate in London very welcoming. As opposed to Paris, Constant felt that art was judged more objectively.

1951

In the Liège exhibition in 1951, even larger than the Stedelijk exhibition, the CoBrA group dissolved itself and with its tenth edition bulletin publication. As Christian Dotremont, the international secretary, stated in Museum News in 1962 the group would rather "mourir en beauté" (die in beauty) than become a regular artist interest group.

1949

In 1949 Constant decorated a garden wall in Tibirkelunde, Sjelland, Denmark.

1948

July 1948 Constant founded Reflex Experimentele Groep in Holland [nl] with Corneille, Karel Appel and his brother Jan Nieuwenhuys. The first edition of the magazine Reflex was published with a manifesto written by Constant. For Constant art had to be experimental. He had deducted this from the French word 'expérience' and believed that art springs from experience of the artist and is continuously changing. In the manifesto he stated that the process of creation is more important to the experimental artist than the work itself; it is a means to reach spiritual and mental enrichment. Also, the work of experimental artists is a mirror image of changes in the general perception of beauty.

Later in the year 1948 on the terrace of café Notre Dame in Paris the Experimentele Groep in Holland linked up with Christian Dotremont and Joseph Noiret from Belgium and Asger Jorn from Denmark to form CoBrA, a name which was made by Dotremont, formed by the first letters of their hometowns: Copenhagen, Brussels and Amsterdam. The members opposed aesthetics in painting and bourgeois art in general.

Constant was productive during the CoBrA period. White Bird (1948), Ladder (1949) and Scorched Earth I (1951) are some of his noted works from this period. At this time CoBrA published bulletin additional artists from several different disciplines joined their ranks. In 1948 Constant, together with poet Gerrit Kouwenaar, published a poetry album Goede Morgen Haan. Additionally there were two large CoBrA exhibitions, one in Amsterdam in 1949 and one in Liège in 1951.

1946

In 1946 Constant travelled to Paris for the first time where he met the young Danish painter Asger Jorn. The friendship between Jorn and Constant later formed the basis for the avant-garde movement CoBrA.

1944

During the winter famine of 1944 Constant's first son, Victor Nieuwenhuys, was born. After the war, Constant, his wife and son moved back to Bergen only to return to Amsterdam in 1946 where they lived in an apartment across from the zoo Artis. When the war ended Constant was able to expand and grow as an artist after years of captivity and limitations. He liberated himself artistically and experimented with multiple techniques of art-making. He was inspired by Cubism, especially by Georges Braque. In 1946 his daughter Martha was born, followed by his daughter Olga in 1948.

1943

The city of Bergen was evacuated by the Germans in 1943 and so Constant and Matie moved back to Amsterdam. During this period Constant went into hiding and refrained from registering at the Kulturkammer (Nazi Chamber of Culture) to avoid the Arbeitseinsatz (labour supply for the Germans). Because of this he was unable to conventionally exercise his craft or to buy art supplies. To paint Constant used tablecloths and bed linen and had to rinse them out to start again.

1942

Constant lived and worked in Bergen from 1941 to 1943. Through the Bergense School he was introduced to the work of Paul Cézanne, which impacted him deeply, as evident in Zelfportret (Self Portrait), 1942. On 13 July 1942 he married Matie van Domselaer, the daughter of the composer Jakob van Domselaer.

1939

After one year studying at the Kunstnijverheidsschool (Arts and Crafts School), Constant attended the Rijksakademie voor Beeldende Kunst (State Academy of Fine Arts) from 1939 to 1941. This education in craftmanship was put to use especially during his "New Babylon" period, when Constant built many constructions and models.

1920

Constant Anton Nieuwenhuys (21 July 1920 – 1 August 2005), better known as Constant, was a Dutch painter, sculptor, graphic artist, author and musician.

Constant was born in Amsterdam on 21 July 1920 as the first son of Pieter Nieuwenhuijs and Maria Cornelissen. Their second son, Jan Nieuwenhuys, was born a year later. Both sons became artists although their parents had no apparent interest in art.