Bram Bogart

Following his education Bogart took a job with an advertising concern in Rotterdam. Subsequent to World War Two the then twenty-five-year-old painter settled in Paris, France where he was among the founders of Art Informel. At first he experimented with cubism and figurative drawing, depicting flowers, still life and self-portraits. In the 1950s he began to concentrate on working with impasto. With thick layers of boldly applied and colourful paint, he developed an expressionist style which became more abstract with time.

In 1961 he and his later to be wife Leni permanently relocated to Belgium and in 1969 he became a Belgian citizen. Here he began to experiment with a more three-dimensional medium, a mix of mortar, siccative, powdered chalk, varnish, and raw pigment, applied to large, heavy wooden backing structures.

Bogart exhibited frequently in Antwerp and Ghent. In 1971 he represented Belgium at the Venice Biennale.

In 2011 the Bogart presented an exhibition in celebration of his 90th birthday, a display of his Monochrome paintings, held at the Bernard Jacobson Gallery in London. A retrospective of his work was also exhibited at Galerie Jean-Luc and Takako Richard in Paris. Bogart died May 2, 2012 in Sint-Truiden, Belgium at the age of 90.


John Stezaker

John Grenville Stezaker (born 1949), is a British conceptual artist.

Stezaker attended the Slade School of Art in London in his early teens,[1] he graduated with a Higher Diploma in Fine Art in 1973. In the early 1970s, he was among the first wave of British conceptual artists to react against what was then the predominance of Pop art.

Solo exhibitions for Stezaker were rare for sometime, however, in the mid-2000s, his work was rediscovered by the art market; he is now collected by several international collectors and museums.

His work is surreal in tone and is often made using collage and the appropriation of pre-existing images such as postcards, film stills, and publicity photographs. Art historian Julian Stallabrass said, “The contrast at the heart of these works [by Stezaker] is not between represented and real, but between the unknowing primitives of popular culture, and the conscious, ironic artist and viewer of post-modern images.” One work included in an exhibition at Salama-Caro Gallery, London, in 1991, depicted an image of a punch clock together with the caption “Why Spend Time on an Exhibition Like This?” Colin Gleadell wrote in The Daily Telegraph in 2007 that Stezaker “is now being hailed as a major influence on the Young British Art movement,” in reference to Young British Artists.

Until 2006, Stezaker was Senior Tutor in Critical and Historical Studies at the Royal College of Art in London.


Michael Tyzack

Michael Tyzack, who had been taught at the Slade in London by William Coldstream, Lucian Freud and William Townsend, was awarded the First Prize at the John Moores Liverpool Exhibition in 1965, when the American art critic Clement Greenberg was the jury chairman.  During the Sixties and Seventies he exhibited at dozens of galleries, including Axiom, Demarco and Mappin; at this time he was also a professional jazz trumpeter. Tyzack moved to Iowa to fill a teaching post in 1971 – originally planning to stay only one year. However, he and his family decided to remain in America after he was offered the post of Professor of Fine Arts at the College of Charleston, where he lived until his death in 2007. Although his emigration to the United States drew Michael Tyzack away from England at a key point in his artistic career, his role as a leading figure in the development of British Abstraction during the ‘ 60s and ‘ 70s is evident from his exhibition record. His work is represented in a large number of public collections worldwide as a result.