COBRA members bringing their work to First International Exhibition of Experimental Artists, Stedelijk Museum, Amsterdam, November 1949. Courtesy Cobra Collection & Research Center
It's an early Saturday morning in Amsterdam, Netherlands. I visit the Martin van Zomeren Gallery at Prinsengraht right after it opens, chat briefly with Martin about my upcoming “Art Rotterdam'' art fair appearance and the display of my dog sculptures at his gallery, and then quickly run to catch the bus. I pass the Houseboat Museum, take a few more steps through Elandsgracht, and hop on bus 347, which will take me to the Cobra Museum. On my route, I pass the grand Rijksmuseum and right behind it, the illustrious Van Gogh Museum. These iconic institutions are undoubtedly next on my list of visits and my adventure with Amsterdam's art collections and exhibits.
Map of my travel to Cobra Museum
Through the bus window, I observe the picturesque canals and majestic old Amsterdam houses, dating back to the times of the Great Old Dutch Masters - Rubens, Rembrandt, and Vermeer. I see vibrant flower markets and a mass of cyclists, to whom our bus gives way every time our paths intersect. I like the cycling culture of the Netherlands, and their culture in general: the delectable food, the aromatic coffee paired with sweet Stroopwafels, and the streets steeped in the tradition of old masters, galleries, designer boutiques, and local cafes, which blend seamlessly with the vibrant and eclectic squats. People here seem relaxed but also cultured, respectful, and better organized. The Dutch are impressively tall, and it's easy to spot who is “not-from-around”.
The bus is very long – it is an articulated bus running on this route. Inside is a calm atmosphere, and throughout the journey, people of diverse nationalities get on and off. Since the route is quite long, I see the changing neighborhoods and notice the evolving faces and nationalities of the people who board the bus. A Muslim woman sits next to me; I can't see her face, but her eyes radiate beauty, capturing my heart. After a few stops, she gets off, and in her place, a tall, colorfully dressed blond man confidently sits down, boldly exposed and smiling at me, revealing a large butterfly tattoo on his chest. Several other fascinating people take the seat next to me, seemingly from another world, another continent, and unknown cultures. My eyes swell from the overload of impressions, but I hold back my emotions, saving them for what is about to happen.
I arrive at the Cobra Museum, the Mecca of Masters whom I admire and respect. The true feast for my eyes begins. Inside the museum, the vibrant energy of the Cobra movement is palpable. The current exhibition, "Cobra 75: Freedom without Borders," celebrates the 75th anniversary of the Cobra movement, featuring 120 artworks by illustrious artists such as Klee, Picasso, Appel, Van Gogh, Constant, Miró, and Basquiat. The exhibition explores the dynamic connections and perspectives between Cobra art and its precursors, contemporaries, and successors, showcasing how the movement's creative energy and freedom continue to inspire artists today (Museum Cobra) (Museum Cobra).
Karel Appel, Women, Children, Animals, 1951
Another highlight is the "Anton Corbijn – MOØDe" exhibition, which was running until May 20, 2024. This exhibition presented over 200 stunning fashion-related photographs by Anton Corbijn, exploring the crossover between portrait photography and the fashion world, featuring portraits of icons like Kate Moss, Tom Waits, and Naomi Campbell.
Got Wheels Supreme skaters Javier Nunez and Tyshawn Lyons, model Paloma Elsesser, Jen Brill, Chloe Sevigny, and skaters Sean Pablo Murphy and Mark Gonzales, all wearing a mix of Supreme and their own clothing. Photographed by Anton Corbijn, Vogue, September 2017
Anton Corbijn - Kate Moss, New York, 1993
The Cobra movement, also known as CoBrA, was an avant-garde art movement active from 1948 to 1951. The name "CoBrA" is derived from the initials of the home cities of its founders: Copenhagen (Co), Brussels (Br), and Amsterdam (A). The movement was formed by a group of European artists who sought to break away from traditional artistic conventions and explore new forms of expression.
Key characteristics of the Cobra movement include:
Spontaneity and Experimentation: Cobra artists emphasized spontaneous creation and the importance of intuition and emotion in the artistic process. They often worked quickly and impulsively, allowing their subconscious to guide their work.
Influence of Primitive Art: The movement was heavily influenced by primitive art, children's drawings, and folk art. This influence is evident in their use of bold colors, simplified forms, and expressive lines.
Rejection of Formalism: Cobra artists rejected the rigid structures and formalism of contemporary art movements like Cubism and Surrealism. They sought to create a more direct and unmediated form of expression.
Collaborative Approach: Collaboration was a significant aspect of the Cobra movement. Members often worked together on projects, sharing ideas and techniques. This collaborative spirit extended to their exhibitions and publications.
Political and Social Engagement: The movement emerged in the post-World War II context, and many Cobra artists were politically and socially engaged. They saw their work as a means of challenging the status quo and promoting freedom and creativity.
Notable members of the Cobra movement include:
● Karel Appel (Netherlands)
● Asger Jorn (Denmark)
● Constant Nieuwenhuys (Netherlands)
● Pierre Alechinsky (Belgium)
● Christian Dotremont (Belgium)
Despite its brief existence, the Cobra movement had a lasting impact on the development of post-war European art, influencing subsequent movements and individual artists with its radical approach and emphasis on creative freedom.
As I move through the museum rooms, I am drawn to the vivid, almost chaotic works that defined the Cobra movement. The exhibition pays special attention to female artists, such as Lotti van der Gaag, Ferdi, Jacqueline de Jong, and Frieda Hunziker, highlighting their struggles and triumphs in a male-dominated art world. Their works stand out for their artistic merit and the poignant stories they tell about gender and artistic expression in the mid-20th century.
Jacqueline de Jong, Those who go by boat, 1987
Additionally, the museum offers a rich array of interactive activities. The "Summer at the Cobra Museum" program includes engaging podcasts where art lovers share their anecdotes and connections to Cobra art, and "Cobra treats!" weekends featuring musical lectures and special activities. This dynamic programming ensures that visitors not only view the art but also engage with it on a deeper level.
The museum's café and shop provide a pleasant respite. Here, visitors can enjoy a coffee while reflecting on the exhibits or browse the museum's carefully curated selection of art books and souvenirs. The beautifully illustrated catalog for "Freedom without Borders" is a must-have, offering in-depth insights and stunning visuals from the exhibition.
The entrance ticket costs 15 euros, and I estimate that a thorough visit would take about two to three hours. The museum offers an immersive experience, allowing me to delve deeply into the artistic rebellion that the Cobra movement represents.
As I leave the museum, filled with inspiration and awe, I look forward to returning to my best friend’s house, who has lived in Amsterdam for years. His hospitality is invaluable, making my stay in this vibrant city even more special.
Cobra artist Karel Appel in his studio
Paweł Żołyński is an artist. He graduated from the Academy of Fine Arts in Wrocław. In 2003, he obtained a master's degree diploma in sculpture from Professor Leon Podsiadły studio. Since 2001 he has exhibited in many solo and collective shows in Poland, Netherlands, and New York City.
He lives and works in Ellenville, NY.
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