solo tentoonstellingen – solo exhibitions:
1957 Galerie De Mangelgang, Groningen (op voorspraak van Dr.Jos de Gruyter)
1961 Galerie Uittenhout, Haarlem
1962 In het Goede Uur, Haarlem
1963 Gemeente museum, Den Haag ( door toedoen van Dr. Jos de Gruyter)
1966 Galerie 845, Amsterdam
Kunstzaal Polder, Den Haag
Galerie De Sfinx, Amsterdam
1969 In het Goede Uur, Haarlem
1972 Atelier 10, Stedelijk Museum Amsterdam
1974 Galerie S, Amsterdam
1975 In de Dorstige Kuil, Heemstede
In 't Hoogt, cultureel centrum Utrecht
De Tamboer, cultureel centrum, Hoogeveen
1977 Amro-bank, Kneuterdijk, Den Haag.
1978 De Onafhankelijken, Grand Palais, Parijs
Galerie Huances, Amsterdam
A.B.N., Leidse plein, Amsterdam
1979 tentoonstelling van "Europese Schilderkunst", Brussel
Gebouw Provinciale staten Noord Holland, Haarlem
1981 In het Oude Slot, cultureel centrum, Heemstede
Walter Thompson, Amsterdam
Galerie de Greeve, Wassenaar
Galerie Ambachtscollectief, Hilversum
Galerie Dijk 1 , Alkmaar
Cultureel Centrum, Midwoud
1989 N.C.R.V. , Hilversum
Galerie Dijk 1, Alklmaar
Galerie 27, Wassenaar.
1990 Galerie De Pauw; Heemstede
1991 Stoutenbeek wooncentrum, Beverwijk
Restaurant “De Geleerde Man”, Bennebroek
1992 Galerie "De Pook", Hengelo
1994 Pulchri Studio, twee grote zalen.
1997 Brauckman Galerie, Heemstede
2004 Achter de Zuilen, Gemeentehuis Bloemendaal (photoshoots/fotoserie)
tentoonstellingen in groepsverband – group exhibitions:
“De Onafhankelijken” sinds 1973
“Arti et Amicitiae”, Amsterdam in 1979
“Pulchri-Studio”, Den Haag sinds 1980
“Sint Lucas”, Amsterdam in 1989
The art critic of a well-known dutch journal, “de Volkskrant”, B. Oppers wrote on 4-4-1961:
Hermannus van Tongeren
A seeker with many forms of expression.
Uittenhout in the Kleine Houtstraat
Exhibition ‘ Stedelijk Museum’, Amsterdam
Harry Holtzman in the thirties. He was one of the discoverers of Mondriaan
and became one of his best friends. After Mondriaans death he became his
heir. Holtzman was very enthousiastic about my work . Some of my paintings in
the ' Stedelijk museum’ of
In maart 1973 las ik het volgende bericht in de krant:
8-3-'73 Film en expositie over Mondriaan.
Amersfoort. In Mondriaan's geboorteplaats Amersfoort was donderdag de première van de film “Piet Mondriaan”. Deze kleurenfilm van 19 minuten werd vervaardigd door de Haagse filmer Nico Crama.
De filmpremière was gekoppeld aan de opening van een documentaire tentoonstelling over het leven en het werk van de schilder. Meer dan tweehonderd nooit eerder in het openbaar getoonde documenten en voorwerpen uit de nalatenschap van Mondriaan worden tentoongesteld. Zij zijn gebruikt bij de vervaardiging van de film.
Vriend en erfgenaam van de schilder professor Harry Holtzman uit New York leidde de film en de tentoonstelling bij het publiek in. Ambassadeurs uit verscheidene landen woonden de manifestatie bij.
v Ik dacht dat deze Harry Holtzman die een neus voor vernieuwers in de kunst bleek te hebben het belang van mijn werk waarschijnlijk beter zou begrijpen dan de vaderlandse deskundigen en ik schreef hem de volgende brief.
In march 1973 I red the following paragraph in my newspaper:
8-3-'73 Film and exhibition about Mondriaan.
and heir of the painter professor Harry Holtzman from
introduced the film and the exhibition to the public.
Ambassadors from several countries attended the manifestation.
v I thought that this Harry Holtzman who apparently had a nose for the pioneers in art would probably better understand the importance of my work than the experts in my own country and I wrote him the following letter.
Heemstede, 11 june `73
Dear mister Holtzman,
In october or november `72 I saw a documentary film on the life of Mondriaan. There was
an interview with you
in that film in which you said you went to
It is always difficult to talk for oneself and I hope you don't think I am conceited or proud. I just know the worth of what I made, I know the depth of my fee1ings and I know I am able after many years to express my self in many different ways and I know what I will be able te make in the future with a bit of space around me and tranquillety. It is dificult to hide this for others , who don’t feel or see what you do.
I wanted to write you after seeing that film because I felt you would probably recognise what was new in someones work more than all those museum people who studied art but don’t see or feel or get a shock even when it should be very clear. I didn’t write you then because I didn’t find that fotos I had of my work good enough. Even now after seven months I still don’t have much, it’s very disappointing, the colours are never right, parts of the paintings are cut of and it all costs a lot.
the meantime I red in the paper that you had been in
I wanted to go
abroad with my work already for years because of my
experience with museumpeople
here and because the tendencies of public and artcritics here is
for figurative and semi-figurative
art and because of the truth of the saying: one is never honoured in one's
own country. My
father was a great inventor who was killed by the germans in the war when he was 44 and he
had experienced the same
with selling his inventions. First in
I will explain you something about my work. I am forty years old and really started to paint in '56 and right from the beginning I had an enormous contrast in my work. I made impressionistic landscapes for I loved nature and started at the same time a great series of blue paintings as I call them. In these I expressed more of myself, they are inner landscapes with little forms and bigger forms in space symbolizing my feelins. They form a very personal language of which the symbols are not taken from ths world outside as in the case of the surrealists. In earlier paint1ngs of these series in blues and ochres there was more atmosphere, later the forms became more and more concentrated and the atmosphere disappeared mostly. I send you one of these blue series in colours and some in black and white. I will put a B on the back of these fotos of the blue series as a A stands for the landscapes.
people were happily shocked by these blue paintings because of the abstract,
totally new world they give, but although some of more important
museum man here had to confess that they couldn't see any influance of other
painters in these blue paintings – they didn’t recognize the importance of these paintings or did dare to buy them. They will wait till I am famous and my prices
are sixty times as high, it is always going like that. The painting of these
blue paintings in which I express the infinite, the timeless and the loneleness, the longing
and the tensions I feel, asks a lot of concentration and the abstinence
of colour. But I was always fascinated by colour too and had an outlet in painting
landscapes and later in painting with horizontals and verticals
and paintings with more loose forms with rich colours and structures. Then I started
have hundreds of sketches for blue paintings and for other directions in
which I want to express my feelings but I just don’t have the
time and the tranquillety
to work it out. I can work only half the time I would like to. I could write
you more but although I believe there is a change you are able to do
something for me and there is a chance that you are willing to, it is no use writing
more before I know
that you are interested
in my work or not. I wanted to ask you this: When you come to
Herman van Tongeren
July 9, 1973
Dear Mr. van Tongeren,
Thank you for your very long letter, and the confidence which you express in my judgemet. I very much appreciate the long and difficult path that you have been following. It is not easy to feel isolated and misunderstood.
I must explain to you that my interest and relationship with Mondrian began in 1934, when I was twenty-two years old. It was much more difficult a time economically, although the world of "abstract" art was a thousand times smaller. I too identified myself as an artist and was very active, productive -- but much opposed and ignored.
When Mondrian died, his recognition was only at the
beginning, compared to now. His works were sought only by a very few advanced
mentalities, a very few museums, despite his importance since
Now I am 61 years old. Now I am almost free of the feeling of my obligation to my friend Mondriaan and to social history. Now it is time for me to return to myself, in my own studio, in a way which I have not known since Mondrian died.
I tell you these things so that you will understand
that I am not quite in the position your letter suggests, to help you in your
situation. You are obviously a very gifted and serious artist. According to
your letter, despite your difficulties in
come again to
February 3, 1974
Dear Herman van Tongeren,
I cannot remember whether I wrote to you since I visited you with your beautiful family. I want you to know that I enjoyed our fine dinner. Especially, I want to tell you that I think you are a tremedously gifted artist and that I hope you will find the respect you deserve.
The difficulties of establishing rapport with the art-world are entirely other then the intensity of meaning and value that the artist must struggle to achieve in his work. Often the two struggles are hopelessly opposed to each other, even contradictory. I hope you did not misinterpret my sincere desire to genuinely encourage you in your efforts to establish useful social relationships which would help you to bring your work to the light of the public.
But you are a very determined man. I am sure that your persistence will one day be effective in establishing the kind of relationships you deserve.
Sincere greetings to you and your wife and children.
I lift a glass of Genever to our next meeting.
critic writes in an article about an exhibition in the cultural centre “'t Hoogt” in
In the work of Van Tongeren the accent lies on the confrontation between chaos and order.The paintings are fragments of totals in which two extremes, namely a standstill and movernent in one surface, are combined. Van Tongeren is inspired by nature landscapes in which violent happenings take place which are sources of inspiration for his creative work. He himself gives as examples: Train and airplanecrashes which took place in open surroundings, cars that collided, movements that are stopped suddenly, debris clotted together in rivers and canals. In these happenings he is interested in the "falling apart of clear-cut forms, the collisions between the different forms, the contrast that arises when positive and negative meet each other in a flat surface. Van Tongeren finds a solution for these problems in a painterly way. In this he leans on the constructive findings of form of Malevitch and uses the tachistic technique as used in some of de Koonings works. Exceptional in the work of van Tongeren is the way in which he combines both elements.in these styles. van Tongeren paints with feeling. For him painting is "a rowing against the stream". In the stencil that accompanies his exhibition he declares: "I want, in a world that goes to its doom, bring beauty and order, energy and colour for the people who are open for it”.