1921
Birth of Abraham van den Boogaart on 12 July, Delft, The Netherlands. Father Abraham van den Boogaart, a blacksmith, and mother Cornelia Stichter. He had an older brother named Geer.
- Family Van Den Boogaart at Hoek van Holland — August 1927.
© Bram Bogart Foundation
Birth of Abraham van den Boogaart on 12 July, Delft, The Netherlands. Father Abraham van den Boogaart, a blacksmith, and mother Cornelia Stichter. He had an older brother named Geer.
1931
He makes drawings from what he finds in newspapers and periodicals.
He makes drawings from what he finds in newspapers and periodicals.
1932
He decides he is going to be a painter and goes off with his mother to buy paint and paint brushes. He does his first painting: a vase with violets.
He decides he is going to be a painter and goes off with his mother to buy paint and paint brushes. He does his first painting: a vase with violets.
1933
Not giving up on what he considers as his calling, he is registered against his will to attend a technical school where he learns to be a house painter. Later, it becomes apparent that this apprenticeship was not without purpose, especially for gaining knowledge of his materials.
Not giving up on what he considers as his calling, he is registered against his will to attend a technical school where he learns to be a house painter. Later, it becomes apparent that this apprenticeship was not without purpose, especially for gaining knowledge of his materials.
1935
His father pays for a drawing course by correspondence for two years. He works every night of the week and on Sundays, but it does not come easy to him.
His father pays for a drawing course by correspondence for two years. He works every night of the week and on Sundays, but it does not come easy to him.
1936
He leaves the technical school and begins to work as a house painter. A year later he is hired by the advertising firm, Leo Mineur in Rotterdam.
- Cinema poster, 1938
He leaves the technical school and begins to work as a house painter. A year later he is hired by the advertising firm, Leo Mineur in Rotterdam.
1939
He begins his career as a painter and shows his first works to Bennewitz, an art dealer in the Hague, who encourages his work and organises some exhibitions. The 2nd World War commences.
He begins his career as a painter and shows his first works to Bennewitz, an art dealer in the Hague, who encourages his work and organises some exhibitions. The 2nd World War commences.
1940
He falls under the combined influence of Van Gogh and Permeke. His strokes are wide and spontaneous. During the war he manages to escape “mandatory work” in Germany.
- Bram Bogart in Delft, 1943
He falls under the combined influence of Van Gogh and Permeke. His strokes are wide and spontaneous. During the war he manages to escape “mandatory work” in Germany.
1943
In order to furnish an acceptable excuse to the occupying army, he registers at the Fine Arts Academy in The Hague. He learns, in particular, the mastery of forms.
- Landschap, 1942
- Landschap met molen, 1942
- Landschap, 1942
- Sneeuwlandschap, 1941
In order to furnish an acceptable excuse to the occupying army, he registers at the Fine Arts Academy in The Hague. He learns, in particular, the mastery of forms.
1944
Goes into hiding but continues to paint
Goes into hiding but continues to paint
1946
He hitch-hikes to Paris and rents a “chambre de bonne”.
He paints frequently in various areas of the city, but also at the Louvre and finally at the Free Academy of the “Grande Chaumière”.
He hitch-hikes to Paris and rents a “chambre de bonne”.
He paints frequently in various areas of the city, but also at the Louvre and finally at the Free Academy of the “Grande Chaumière”.
1947
He falls ill and must return to Delft where he is hospitalised for several months. He subsequently rents a workshop on the Houtmarkt (wood market) in The Hague, but in the summer leaves again for France where he produces numerous drawings.
He falls ill and must return to Delft where he is hospitalised for several months. He subsequently rents a workshop on the Houtmarkt (wood market) in The Hague, but in the summer leaves again for France where he produces numerous drawings.
1948
In January he returns to The Hague.
In May, he leaves again for Paris where he visits the Geer and Bram Van Velde exhibitions. During the months of July and August he devotes himself to landscape study; a prolongation of previous research o horizontality and upon that which is at once flat and relaxing. The skies have no clouds…
In September, he passes back trough Paris, then on to The Hague. Working with the direct application of pure colour paint from the tubes, he develops a system based on the autonomy of colours. This step will have noticeable repercussions on the course of his future work. His work will become more abstract and dominated by the play of lines.
In January he returns to The Hague.
In May, he leaves again for Paris where he visits the Geer and Bram Van Velde exhibitions. During the months of July and August he devotes himself to landscape study; a prolongation of previous research o horizontality and upon that which is at once flat and relaxing. The skies have no clouds…
In September, he passes back trough Paris, then on to The Hague. Working with the direct application of pure colour paint from the tubes, he develops a system based on the autonomy of colours. This step will have noticeable repercussions on the course of his future work. His work will become more abstract and dominated by the play of lines.
1949
He moves to Antibes and works, outside, painting landscapes.
He moves to Antibes and works, outside, painting landscapes.
1950
After a visit to Holland, he goes to live in Le Cannet, where a cellar serves as his workshop. He paints some fifty canvases and experiments for the first time with mixtures of oil and water-based paints. The violence of reds and blues are no longer satisfying; he thus launches into a series of paintings inspired by the buildings of Grimaldi – and other structures of the same period – by forcing himself into giving his canvases a cement and chalk aspect characteristic of these constructions. At the same time he is searching for balance, comparable to that of the symmetry found in this type of housing.
Some of his canvases are shown in September at the Martin Cruson Gallery, in Cannes.
In the cellar where he is working, he founds various African art objects stored away, as much by colour as by the atmosphere generated from them, the objects have an obvious influence on his work. He paints some still-lives, but notably introduces signs into his compositions: crosses, circles, squares – in addition to the play of lines and writing which have characterised his style since 1948.
- Blauw Delft, 1950
- Teken, 1950
After a visit to Holland, he goes to live in Le Cannet, where a cellar serves as his workshop. He paints some fifty canvases and experiments for the first time with mixtures of oil and water-based paints. The violence of reds and blues are no longer satisfying; he thus launches into a series of paintings inspired by the buildings of Grimaldi – and other structures of the same period – by forcing himself into giving his canvases a cement and chalk aspect characteristic of these constructions. At the same time he is searching for balance, comparable to that of the symmetry found in this type of housing.
Some of his canvases are shown in September at the Martin Cruson Gallery, in Cannes.
In the cellar where he is working, he founds various African art objects stored away, as much by colour as by the atmosphere generated from them, the objects have an obvious influence on his work. He paints some still-lives, but notably introduces signs into his compositions: crosses, circles, squares – in addition to the play of lines and writing which have characterised his style since 1948.
1951
In January, he goes back to Delft where the Lambert Van Meerten Museum devotes an entire exhibition to him.
In April, he shows his canvases inscribed with signs at the Bennewitz Gallery in the Hague. None of them however are sold. In May, he returns to Le Cannet with the intention of travelling all the way to Pompeii. While swimming in the sea he is stung on the leg by a jellyfish; the wound becomes infected which forces him to cancel his trip to Italy. Back in Paris, he rents and shares a workshop with the American sculptor, Rocco, on 50 rue Santeuil.
Thet divide the space with wicker and plaster walls. This leather works building, the Halle-aux-cuirs, is occupied by numerous artists.
In January, he goes back to Delft where the Lambert Van Meerten Museum devotes an entire exhibition to him.
In April, he shows his canvases inscribed with signs at the Bennewitz Gallery in the Hague. None of them however are sold. In May, he returns to Le Cannet with the intention of travelling all the way to Pompeii. While swimming in the sea he is stung on the leg by a jellyfish; the wound becomes infected which forces him to cancel his trip to Italy. Back in Paris, he rents and shares a workshop with the American sculptor, Rocco, on 50 rue Santeuil.
Thet divide the space with wicker and plaster walls. This leather works building, the Halle-aux-cuirs, is occupied by numerous artists.
1952
The fixing up of the workshop finished, he continues in the vein of the canvases covered with signs; he tries, unsuccessfully, to establish ties with the Paris galleries. Life is difficult, and to go on with his work, he is often forced to paint over previous work.
- Composition blanche, 1952
- Compositie kruis en tekens, 1952
- Witte tekens, 1952
- Signe et blanc, 1952
- Composition blanche gris, 1952
The fixing up of the workshop finished, he continues in the vein of the canvases covered with signs; he tries, unsuccessfully, to establish ties with the Paris galleries. Life is difficult, and to go on with his work, he is often forced to paint over previous work.
1953
A sort of liberation occurs in his work: the drawing becomes larger and the writing more ample, taking over the entire space. He enters into a truly Expressionist phase. The Creuse Gallery expresses interest and organises a first exhibition of his work. He meets the painter, Bengt Lindström, and they become friends.
- Paysage nocturne, 1953
A sort of liberation occurs in his work: the drawing becomes larger and the writing more ample, taking over the entire space. He enters into a truly Expressionist phase. The Creuse Gallery expresses interest and organises a first exhibition of his work. He meets the painter, Bengt Lindström, and they become friends.
1954
His oil-paint takes on a thickness, the colours become more sober. He paints numerous monochromes in white or in black. Nevertheless, the writing remains the same; either it takes effect in the paint or is carried out in daubs of colour made more fluid by adding turpentine.
- Composition blanche, 1954
His oil-paint takes on a thickness, the colours become more sober. He paints numerous monochromes in white or in black. Nevertheless, the writing remains the same; either it takes effect in the paint or is carried out in daubs of colour made more fluid by adding turpentine.
1955
In February, he has a large show at Creuze Gallery, in the Balzac room. Over one hundred paintings are shown, but none bought. He travels to Frankfort for an exhibition of his paintings at the Frank Gallery. Accompanied by the painter, Karl Otto Götz, who lived in Frankfurt at the time, they visit a show of American art of the day; Bogart particularly admiring Roszak’s sculptures.
- Les blancs de juin, 1955
In February, he has a large show at Creuze Gallery, in the Balzac room. Over one hundred paintings are shown, but none bought. He travels to Frankfort for an exhibition of his paintings at the Frank Gallery. Accompanied by the painter, Karl Otto Götz, who lived in Frankfurt at the time, they visit a show of American art of the day; Bogart particularly admiring Roszak’s sculptures.
1956
He comes in contact with the Gimpels Brothers Gallery, in London. The two brothers buy several of his paintings. The horizontal and vertical lines returns to the centre of his work: it separates the canvas into two expanses of colour.
- Vue de l'opéra, 1957
- Coq menacé, 1956
He comes in contact with the Gimpels Brothers Gallery, in London. The two brothers buy several of his paintings. The horizontal and vertical lines returns to the centre of his work: it separates the canvas into two expanses of colour.
1957
For the first time he takes part in the Salon des Realités Nouvelles. Viseux and Réquichot introduce him to Daniel Cordier, who buys several of his paintings. Lawrence Mendes, a young art dealer, comes to visit his workshop accompanied by Sam Francis.
For the first time he takes part in the Salon des Realités Nouvelles. Viseux and Réquichot introduce him to Daniel Cordier, who buys several of his paintings. Lawrence Mendes, a young art dealer, comes to visit his workshop accompanied by Sam Francis.
1958
He meets Jean Dypréau and Serge Vandercam, which allows him to show for the first time in Brussels at the Carabin Gallery. Harry Shunk begins a photo series.
Jean Miotte organises at tha Attico Gallery, in Rome, an exhibition of paintings that he presented at the Creuze Gallery.
The director, Bruno Sargentini, comes to see him in Paris and buys several of his paintings; He meets a compatriot, Abelina Sjoukje Vos, nicknamed Leni, born in Eindhoven 4 October 1936.
He meets Jean Dypréau and Serge Vandercam, which allows him to show for the first time in Brussels at the Carabin Gallery. Harry Shunk begins a photo series.
Jean Miotte organises at tha Attico Gallery, in Rome, an exhibition of paintings that he presented at the Creuze Gallery.
The director, Bruno Sargentini, comes to see him in Paris and buys several of his paintings; He meets a compatriot, Abelina Sjoukje Vos, nicknamed Leni, born in Eindhoven 4 October 1936.
1959
He shows in Dusseldorf at J.-P. Wilhelm and Manfred de la Motte’s space. Fontana comes to visit his workshop and proposes an exchange with one of his works.
He has the possibility to move to New York, but Jean Dypréau persuades him to go to Brussels, to the rue du Méridien to work. He stays a month there, during which he prepares an exhibition at the Palais des Beaux-Arts in Brussels, then directed by Robert Giron. In the fall he leaves for Rome, finds a workshop there and paints a dozen canvases for the Attico Gallery. He is a regular at the Rosati café, where he meets numerous Italian artists and his compatriot, de Kooning. Like de Kooning who was eventually to become American, he is deeply hostile to the cultural policy of the Dutch museums. He inaugurates a technique with even spots of paint moving across the entire surface of the canvas.
He shows in Dusseldorf at J.-P. Wilhelm and Manfred de la Motte’s space. Fontana comes to visit his workshop and proposes an exchange with one of his works.
He has the possibility to move to New York, but Jean Dypréau persuades him to go to Brussels, to the rue du Méridien to work. He stays a month there, during which he prepares an exhibition at the Palais des Beaux-Arts in Brussels, then directed by Robert Giron. In the fall he leaves for Rome, finds a workshop there and paints a dozen canvases for the Attico Gallery. He is a regular at the Rosati café, where he meets numerous Italian artists and his compatriot, de Kooning. Like de Kooning who was eventually to become American, he is deeply hostile to the cultural policy of the Dutch museums. He inaugurates a technique with even spots of paint moving across the entire surface of the canvas.
1960
He moves to the rue Méridien and continues to work in the same vein as that which he discovered in Rome. The painters, Van Anderlecht and Jef Verheijen come to visit and introduce him to the art dealer and collector, Hans Liechti, who buys Flore-Bouquet (1960) amongst other works.
After going through Paris, he returns to Rome where he rents a garage in a back courtyard. He works there until November, then rents a large apartment in Brussels, on the rue Bodenbroek (Place du Grand Sablon).
He moves to the rue Méridien and continues to work in the same vein as that which he discovered in Rome. The painters, Van Anderlecht and Jef Verheijen come to visit and introduce him to the art dealer and collector, Hans Liechti, who buys Flore-Bouquet (1960) amongst other works.
After going through Paris, he returns to Rome where he rents a garage in a back courtyard. He works there until November, then rents a large apartment in Brussels, on the rue Bodenbroek (Place du Grand Sablon).
1961
After setting up his workshop, he begins to paint again in March; the paintings are larger, the colours denser, brighter, and the paint continues to thicken. The burlap canvas support having becomes too weak, he stretches a canvas onto a wood panel and paints “A Lawrence”. He adopts definitively the use of the reinforced supports which allows him to increase still more thickness of the work’s material. A small group of Belgian collectors are enthused by his work.
He takes part in a large exhibition, Forum 61, in Gent.
He returns to work in Rome by way of Zurich where he visits Zoltan Kemeny whom he introduces to Jean Dypréau.
In Italy Bruno Sargentini has panels especially made for him; using excellent quality pigments, he is able to work with mixtures he makes up himself as each work advances.
In Paris, the Halle-aux-cuirs building, house of so many artists, is destroyed. Amongst them, Bram Bogart was the one who had been there the longest.
After setting up his workshop, he begins to paint again in March; the paintings are larger, the colours denser, brighter, and the paint continues to thicken. The burlap canvas support having becomes too weak, he stretches a canvas onto a wood panel and paints “A Lawrence”. He adopts definitively the use of the reinforced supports which allows him to increase still more thickness of the work’s material. A small group of Belgian collectors are enthused by his work.
He takes part in a large exhibition, Forum 61, in Gent.
He returns to work in Rome by way of Zurich where he visits Zoltan Kemeny whom he introduces to Jean Dypréau.
In Italy Bruno Sargentini has panels especially made for him; using excellent quality pigments, he is able to work with mixtures he makes up himself as each work advances.
In Paris, the Halle-aux-cuirs building, house of so many artists, is destroyed. Amongst them, Bram Bogart was the one who had been there the longest.
1962
In February, he marries Abelina Sjoukje Vos.
He shows at Gérard Monijen’s gallery, le Zodiaque, in Brussels; his work, “De Gelen”, is purchased for the Musée national d’Art moderne through Francine-Claire Legrand.
Through Bengt Lindstöm , he is put into touch with Ingemar Tunander, director of the Sundsvall Museum in Sweden. He begins showing in that country, and meets Wiking Svensson. From then on, he is to exhibit ften in Sweden, particularly in the spaces of Niels Franzen and Kjell Wikner, with whom he is to collaborate over the next ten years. As the size and the weight of his works continues to increase, his second storey studio begins to cause problems.
In February, he marries Abelina Sjoukje Vos.
He shows at Gérard Monijen’s gallery, le Zodiaque, in Brussels; his work, “De Gelen”, is purchased for the Musée national d’Art moderne through Francine-Claire Legrand.
Through Bengt Lindstöm , he is put into touch with Ingemar Tunander, director of the Sundsvall Museum in Sweden. He begins showing in that country, and meets Wiking Svensson. From then on, he is to exhibit ften in Sweden, particularly in the spaces of Niels Franzen and Kjell Wikner, with whom he is to collaborate over the next ten years. As the size and the weight of his works continues to increase, his second storey studio begins to cause problems.
1963
He does a series of large canvases, baptising them himself as stemming from his “Bodenbroek Period”. After painting “Bodenbroek” 1963, the final work of the series, he moves to Ohain, in Belgium’s Brabant Wallon province.
He does a series of large canvases, baptising them himself as stemming from his “Bodenbroek Period”. After painting “Bodenbroek” 1963, the final work of the series, he moves to Ohain, in Belgium’s Brabant Wallon province.
1964
He begins painting again in January and does twenty-four large canvases which are subsequently exhibited at the Palais des Beaux-Arts in Brussels.
January 15, his daughter Cornelia is born.
His 1963 work, “Lokland”, allows him to share the Guggenheim prize, awarded in New York.
He begins painting again in January and does twenty-four large canvases which are subsequently exhibited at the Palais des Beaux-Arts in Brussels.
January 15, his daughter Cornelia is born.
His 1963 work, “Lokland”, allows him to share the Guggenheim prize, awarded in New York.
1965
The emptiness of the manor in Ohain, so different from the atmosphere on Bodenbroek Street, exerts an unmistakable influence on his work. His paintings becomes less thick, and the signs from the early 1950s reappear. The sign is often solitary; it may be a circle, a cross, a square, a horizontal or vertical movement which covers the entire canvas. He is awarded the 1963-64 Belgian Critic’s Prize in Charleroi.
The emptiness of the manor in Ohain, so different from the atmosphere on Bodenbroek Street, exerts an unmistakable influence on his work. His paintings becomes less thick, and the signs from the early 1950s reappear. The sign is often solitary; it may be a circle, a cross, a square, a horizontal or vertical movement which covers the entire canvas. He is awarded the 1963-64 Belgian Critic’s Prize in Charleroi.
1967
Birth of his daughter Inge, 5 January.
Birth of his daughter Inge, 5 January.
1969
He acquires Belgian citizenship.
He is awarded the Europa Prize of painting, in Ostende.
His painting, between 1965 and 1970, is influenced by children’s games ( “Speelblokken”, “Blokkenplaat”, “Cornelia-Ingespel”…) and his various trips to the north of Sweden, where many exhibitions of his work take place.
He acquires Belgian citizenship.
He is awarded the Europa Prize of painting, in Ostende.
His painting, between 1965 and 1970, is influenced by children’s games ( “Speelblokken”, “Blokkenplaat”, “Cornelia-Ingespel”…) and his various trips to the north of Sweden, where many exhibitions of his work take place.
1970
He takes part in the Venice Biennale. Lucchino Visconti buys his canvas “Noir-bleu”.
He takes part in the Venice Biennale. Lucchino Visconti buys his canvas “Noir-bleu”.
1971
Birth of his son Bram.
Birth of his son Bram.
1972
He shows along with Vic Gentils at the Badischer Kunstverein in Karlsruhe. His work undergoes a profound change: the matter is not only applied far more directly and playfully to the canvas, but actually begins to overflow beyond the edges, giving his work their properly Baroque character.
He shows along with Vic Gentils at the Badischer Kunstverein in Karlsruhe. His work undergoes a profound change: the matter is not only applied far more directly and playfully to the canvas, but actually begins to overflow beyond the edges, giving his work their properly Baroque character.
1973
At the Brussels Palais des Beaux-Arts, he shows his work produced over the five previous years.
At the Brussels Palais des Beaux-Arts, he shows his work produced over the five previous years.
1974
Because of the recent thickening of the paint, he modifies the way his supports are consolidated, adopting metal stretchers, which in turn leads him to changing his mode of presenting his work.
He makes the acquaintance of the art critic Arsen Pohribny who comes to visit his studio in Ohain. He travels to Milan with his family where he exhibits at the opening of the Carlo Grossetti gallery.
Because of the recent thickening of the paint, he modifies the way his supports are consolidated, adopting metal stretchers, which in turn leads him to changing his mode of presenting his work.
He makes the acquaintance of the art critic Arsen Pohribny who comes to visit his studio in Ohain. He travels to Milan with his family where he exhibits at the opening of the Carlo Grossetti gallery.
1977
He exhibits in Bonn at Marianne Hennemann’s gallery; an accompanying monograph written by Manfred de la Motte is published. The book also includes the most important of the critical texts devoted to his work. The same exhibition then travels to Berlin where it is shown at Georg Nothelfer’s.
His friend Tuur Deglas introduces him to Aimé Proost with whom he will work in Kessel, in Belgium.
He exhibits in Bonn at Marianne Hennemann’s gallery; an accompanying monograph written by Manfred de la Motte is published. The book also includes the most important of the critical texts devoted to his work. The same exhibition then travels to Berlin where it is shown at Georg Nothelfer’s.
His friend Tuur Deglas introduces him to Aimé Proost with whom he will work in Kessel, in Belgium.
1978
A large retrospective of his work is shown in the Alexandra Monett Gallery in Brussels.
A large retrospective of his work is shown in the Alexandra Monett Gallery in Brussels.
1981
The Veranneman Foundation organises a retrospective (1950-81) which is shown at the Knokke casino.
The Veranneman Foundation organises a retrospective (1950-81) which is shown at the Knokke casino.
1984
Retrospective at the Boymans van Beuningen in Rotterdam and at the Museum of Contemporary Art in Ghent. The catalogue is written by Jan Hoet.
Retrospective at the Prinsenhof Museum in Delft. The museum purchases a canvas from the blue-white series entitled “Prinsenhof” (1963).
Retrospective at the Boymans van Beuningen in Rotterdam and at the Museum of Contemporary Art in Ghent. The catalogue is written by Jan Hoet.
Retrospective at the Prinsenhof Museum in Delft. The museum purchases a canvas from the blue-white series entitled “Prinsenhof” (1963).
1985
Because the family has to move from Ohain, he buys an old paper factory in the centre of Brussels.
Because the family has to move from Ohain, he buys an old paper factory in the centre of Brussels.
1986
He renews his ties with Paris: the Cogeime gallery… Yvan Lechien shows his work at the International Contemporary Art Fair FIAC.
He renews his ties with Paris: the Cogeime gallery… Yvan Lechien shows his work at the International Contemporary Art Fair FIAC.
1987
He leaves Ohain and moves to Brussels. He wins the Jules Raeymakers Prize for colour, awarded by the Royal Academy of Belgium.
May 13, his new studio is on point of completion; sparks from the welding being done by workmen in the elevator shaft land on sacks of pigment and fire breaks out. The powders stick to the walls and fill the entire house. Only a few canvases are actually destroyed, but all the others have to be washed and restored. A wine merchant in the street offers him a space where he is able to stock what was able to be saved. The disaster interrupts his creative work until July of the following year.
He meets the English merchant David Hughes.
He leaves Ohain and moves to Brussels. He wins the Jules Raeymakers Prize for colour, awarded by the Royal Academy of Belgium.
May 13, his new studio is on point of completion; sparks from the welding being done by workmen in the elevator shaft land on sacks of pigment and fire breaks out. The powders stick to the walls and fill the entire house. Only a few canvases are actually destroyed, but all the others have to be washed and restored. A wine merchant in the street offers him a space where he is able to stock what was able to be saved. The disaster interrupts his creative work until July of the following year.
He meets the English merchant David Hughes.
1988
The Lanoo printers publish a work entitled “Bram Bogart ou la fidelité”, with a text written by Francine-Claire Legrand.
The Willy d’Huysser Gallery offers him a one-man show at the International Fair of Contemporary Art in ghent: all the canvases are sold.
He buys a large house in the countryside, in Kortenbos, Belgium, where he will start to work in 1989.
The Lanoo printers publish a work entitled “Bram Bogart ou la fidelité”, with a text written by Francine-Claire Legrand.
The Willy d’Huysser Gallery offers him a one-man show at the International Fair of Contemporary Art in ghent: all the canvases are sold.
He buys a large house in the countryside, in Kortenbos, Belgium, where he will start to work in 1989.
1989
David Hughes writes and publish a catalogue, “Bram Bogart – The Early Years 1951 – 1965 Paris – Rome – Bruxelles”. The works reproduced in it are shown in Frankfurt and Barcelona. The Editions de la difference publish an essay by Marcel Paquet in the “L’autre Musée” collection, entitled “Bram Bogart ou les puissances de la matière”.
He shows at the galerie Protée in Paris.
David Hughes writes and publish a catalogue, “Bram Bogart – The Early Years 1951 – 1965 Paris – Rome – Bruxelles”. The works reproduced in it are shown in Frankfurt and Barcelona. The Editions de la difference publish an essay by Marcel Paquet in the “L’autre Musée” collection, entitled “Bram Bogart ou les puissances de la matière”.
He shows at the galerie Protée in Paris.
1990
Petra Reed organises an exhibition of his work at the andré Emmerich Gallery in New York.
Marcel Paquet and Michel Van Loo make a film entitled “Bram Bogart, fenêtre de la lumière”.
The Gian Carlo de Magistris Gallery shows his work in July at the fair in Nice.
Les Editions de la difference publish a large monograph with a text by Marcel Paquet, in the “Mains et Merveilles” collection.
Petra Reed organises an exhibition of his work at the andré Emmerich Gallery in New York.
Marcel Paquet and Michel Van Loo make a film entitled “Bram Bogart, fenêtre de la lumière”.
The Gian Carlo de Magistris Gallery shows his work in July at the fair in Nice.
Les Editions de la difference publish a large monograph with a text by Marcel Paquet, in the “Mains et Merveilles” collection.
1991
In his new home in Kortenbos, he creates some very large format works.
Exhibition in Milan at the San Carlo Gallery; the catalogue is prefaced by Achille Bonito Oliva. He returns to Paris for three large solo exhibitions: two at the FIAC and one at the Protée Gallery.
He takes part in the exhibition “Memory of Freedom” organised around the Universal Declaration of Human Rights. The exhibition is first shown at the Centre Georges Pompidou in Paris and the artists are received at the Elysée by Madame Mitterand.
In his new home in Kortenbos, he creates some very large format works.
Exhibition in Milan at the San Carlo Gallery; the catalogue is prefaced by Achille Bonito Oliva. He returns to Paris for three large solo exhibitions: two at the FIAC and one at the Protée Gallery.
He takes part in the exhibition “Memory of Freedom” organised around the Universal Declaration of Human Rights. The exhibition is first shown at the Centre Georges Pompidou in Paris and the artists are received at the Elysée by Madame Mitterand.
1992
Liliane Thorn-Petit makes the film Bram Bogart for the “Portrait of an artist” series.
In February, France-Mexique Cinéma makes “Bram Bogart-Kortenbos”.
Silvana Massano organises a retrospective at Le Botanique cultural centre in Brussels. Jacques Meuris writes the catalogue.
Liliane Thorn-Petit makes the film Bram Bogart for the “Portrait of an artist” series.
In February, France-Mexique Cinéma makes “Bram Bogart-Kortenbos”.
Silvana Massano organises a retrospective at Le Botanique cultural centre in Brussels. Jacques Meuris writes the catalogue.
1993
The Protée Gallery in Paris shows his gouaches which date back to 1950.
He contributes fourteen canvases to the international exhibition, “Masters of Matter”, at the Dutch museum at s’Hertogenbosch.
He travels to Basle to visit the art fair where the Mayor / David Hughes Gallery organised a one-man show for him.
In October, the Reflex Gallery in Amsterdam exhibits his recent works.
The Protée Gallery in Paris shows his gouaches which date back to 1950.
He contributes fourteen canvases to the international exhibition, “Masters of Matter”, at the Dutch museum at s’Hertogenbosch.
He travels to Basle to visit the art fair where the Mayor / David Hughes Gallery organised a one-man show for him.
In October, the Reflex Gallery in Amsterdam exhibits his recent works.
1994
Avanti Galleries organise a solo exhibition in New York, entitled “Size, Shape and Colour”.
He creates a large number of paintings for two exhibitions planned for 1995: at the Musée des Cordeliers in Châteauroux, in France, and in Belgium at the new Museum of Modern Art in Ostende.
Works on two large sixteen-metre-high sculptures, intended to be placed in front of the VSB bank in Utrecht, Holland.
Avanti Galleries organise a solo exhibition in New York, entitled “Size, Shape and Colour”.
He creates a large number of paintings for two exhibitions planned for 1995: at the Musée des Cordeliers in Châteauroux, in France, and in Belgium at the new Museum of Modern Art in Ostende.
Works on two large sixteen-metre-high sculptures, intended to be placed in front of the VSB bank in Utrecht, Holland.
1995
In January, the exhibition in Châteauroux shows nineteen large canvases at the Musée des Cordeliers.
From June to September, tha Museum of modern Art in Ostende puts on the largest exhibition ever devoted to the work of Bram Bogart. A large catalogue is published in conjunction with the show, featuring a conversation between Bram Bogart and the director of the museum, W.V.D. Bussche, which enables the reader to follow the painter’s trajectory from the 1950’s, from Paris to Rome, from Brussels to Ohain and to Kortenbos.
In January, the exhibition in Châteauroux shows nineteen large canvases at the Musée des Cordeliers.
From June to September, tha Museum of modern Art in Ostende puts on the largest exhibition ever devoted to the work of Bram Bogart. A large catalogue is published in conjunction with the show, featuring a conversation between Bram Bogart and the director of the museum, W.V.D. Bussche, which enables the reader to follow the painter’s trajectory from the 1950’s, from Paris to Rome, from Brussels to Ohain and to Kortenbos.
1996
In early February, Bram Bogart travels to Madrid and visits the large galleries.
The Galeria Italia in alicante puts on a solo show of his work at the ARCO in Madrid.
At the international fairs in Frankfurt, Cannes and Cologne, the Willy Schoots Gallery in Eindhoven puts on individual shows of his work.
In Eindhoven itself, from June to April, the same gallery devotes an exhibition and a catalogue to his work; the preface written by Rick Vercauteren of the s’Hertogenbosch museum, describes the period from 1988-96, his years at Kortenbos.
In September, he travels to Brazil where he attends the opening of his exhibition at the Pinacoteca do Estado in Sao Paulo. Jan Hoet, Achille Bonito Oliva and Marcel Paquet write texts for the catalogue.
In October, at the FIAC in Paris, the Willy d’Huysser Gallery from Brussels shows a solo exhibition of his work.
In early February, Bram Bogart travels to Madrid and visits the large galleries.
The Galeria Italia in alicante puts on a solo show of his work at the ARCO in Madrid.
At the international fairs in Frankfurt, Cannes and Cologne, the Willy Schoots Gallery in Eindhoven puts on individual shows of his work.
In Eindhoven itself, from June to April, the same gallery devotes an exhibition and a catalogue to his work; the preface written by Rick Vercauteren of the s’Hertogenbosch museum, describes the period from 1988-96, his years at Kortenbos.
In September, he travels to Brazil where he attends the opening of his exhibition at the Pinacoteca do Estado in Sao Paulo. Jan Hoet, Achille Bonito Oliva and Marcel Paquet write texts for the catalogue.
In October, at the FIAC in Paris, the Willy d’Huysser Gallery from Brussels shows a solo exhibition of his work.
1997
Since his trip in 1970 to the Biennale, Bram Bogart had not been back to that magnificent city of Venice: in 1997 he returns in March for the exhibition of Flemish and Dutch painting at the Palazzo Grassi. At the same time, the Venice design Gallery offers him a show.
Invited to the Anton Meier Gallery in Geneva, he has a solo show at the Basle International Art Fair.
The Athenée publishers of Geneva present the essay by Marcel Paquet, “Bram Bogart et la peinture peinture”.
In Brussels, he receive the SABAM fine arts prize.
During the summer in Kortenbos, where his studio is located, he paints several large works, including “Kurden”, ‘Heem”, “Diana’s Day”, which will be subsequently shown at the Cologne fair by Willy Schoots Gallery.
In November, the Cotthem Gallery in Barcelona organises a retrospective exhibition.
Since his trip in 1970 to the Biennale, Bram Bogart had not been back to that magnificent city of Venice: in 1997 he returns in March for the exhibition of Flemish and Dutch painting at the Palazzo Grassi. At the same time, the Venice design Gallery offers him a show.
Invited to the Anton Meier Gallery in Geneva, he has a solo show at the Basle International Art Fair.
The Athenée publishers of Geneva present the essay by Marcel Paquet, “Bram Bogart et la peinture peinture”.
In Brussels, he receive the SABAM fine arts prize.
During the summer in Kortenbos, where his studio is located, he paints several large works, including “Kurden”, ‘Heem”, “Diana’s Day”, which will be subsequently shown at the Cologne fair by Willy Schoots Gallery.
In November, the Cotthem Gallery in Barcelona organises a retrospective exhibition.
1998
He shows in Paris at the Gallery Enrico Navarra with recent works.
Exhibits at Galeria San Carlo in Milan “Ora la luce é finalemente matura”.
In February, Bram Bogart travels for the first time to Portugal where he attends the opening of his exhibition at the Galeria Mario Sequeria in Braga.
The Gallery Reflex in Amsterdam shows his work together with the artist Arman.
He shows in Paris at the Gallery Enrico Navarra with recent works.
Exhibits at Galeria San Carlo in Milan “Ora la luce é finalemente matura”.
In February, Bram Bogart travels for the first time to Portugal where he attends the opening of his exhibition at the Galeria Mario Sequeria in Braga.
The Gallery Reflex in Amsterdam shows his work together with the artist Arman.
2000
Exhibition at the 69th Regiment Armory in New York.
Exhibition at the 69th Regiment Armory in New York.
2001
Travels to Thailand for the exhibition at the Bangkok National Gallery, “Today’s Belgium Painters & Sculptors”.
Travels to Thailand for the exhibition at the Bangkok National Gallery, “Today’s Belgium Painters & Sculptors”.
2002
Exhibition with recent paintings at the Gallery Malbourough, Chelsea, New York.
In spring exhibits at the Guy Pieters Gallery in Saint Paul de Vence, France.
Exhibition with recent paintings at the Gallery Malbourough, Chelsea, New York.
In spring exhibits at the Guy Pieters Gallery in Saint Paul de Vence, France.
2003
Bram Bogart is hospitalised with back problems from years of working bent over using heavy materials. It is only next year that he is back into his rhythm.
Bram Bogart is hospitalised with back problems from years of working bent over using heavy materials. It is only next year that he is back into his rhythm.
2004
Has exhibitions in Paris, Spain and Belgium at the Museum of contemporary Art of Liège.
Has exhibitions in Paris, Spain and Belgium at the Museum of contemporary Art of Liège.
2005
An exhibition of 55 years of painting is held in Germany at the Kunsthalle of Recklinghausen.
An exhibition of 55 years of painting is held in Germany at the Kunsthalle of Recklinghausen.
2006
The Fine Art Society Gallery in London devotes an exhibition to his work “Paintings 1951-2006”.
The Fine Art Society Gallery in London devotes an exhibition to his work “Paintings 1951-2006”.
2007
He shows in London at the Bernard Jacobson Gallery his recent paintings.
The work is displayed during Art Basel by Bernard Jacobson Gallery.
He shows in London at the Bernard Jacobson Gallery his recent paintings.
The work is displayed during Art Basel by Bernard Jacobson Gallery.
2008
The gallery Jacobson Howard in New York organises a show.
The work is displayed during Art Basel by Bernard Jacobson Gallery.
The gallery Jacobson Howard in New York organises a show.
The work is displayed during Art Basel by Bernard Jacobson Gallery.
2009
Take part at the exhibition “Intensely Dutch” at the Art Gallery of New south Wales in Sydney.
In London, the Bernard Jacobson Gallery organises an exhibition entitled “Large Paintings”.
Some elderly work of the 1950s are shown at the COBRA Museum in Amstelveen, the exhibition is entitled “Paris Central”.
The work is displayed during Art Basel by Bernard Jacobson Gallery.
Take part at the exhibition “Intensely Dutch” at the Art Gallery of New south Wales in Sydney.
In London, the Bernard Jacobson Gallery organises an exhibition entitled “Large Paintings”.
Some elderly work of the 1950s are shown at the COBRA Museum in Amstelveen, the exhibition is entitled “Paris Central”.
The work is displayed during Art Basel by Bernard Jacobson Gallery.
2010
In Summer an exhibition started in his own town, Sint-Truiden, the exhibition is entitled “Kortenbos” and shows 12 large paintings.
In Summer an exhibition started in his own town, Sint-Truiden, the exhibition is entitled “Kortenbos” and shows 12 large paintings.
2012
Bram Bogart is working on a project “Museum to scale” curated by the Ronny Van De Velde Gallery.
Bram Bogart passed away on the 12th of May after having dedicated his whole life to the art of painting.
Bram Bogart is working on a project “Museum to scale” curated by the Ronny Van De Velde Gallery.
Bram Bogart passed away on the 12th of May after having dedicated his whole life to the art of painting.