Comparisons in European museums

Even known artists in the European museums sometimes have the same ideas. Plagiarism could be spoken of but most of the times this is not the case. Artists look at each other, the next idea always has a source, an earlier idea.

Both installations made with neon light have round shapes and are displaying a comparable artists thought. At the left: Navid Nuur: Mind map, 2013. Bonnefanten, Maastricht 2015. At the right: Bruce Nauman: Window or Wall sign, 1967. Kröller-Müller museum, Otterloo 2015.

Ants and cockroaches... At the left: Rafael Gomezbarros (1972): Taken House, resin, fiberglass, wood, screen cotton, rope and coal, 2013 (detail). Saatchi Gallery 2015. At the right: Bita Fayyazi (1962): Cockroaches, enamelled ceramic and metal wire, 1999 (detail). Bonnefanten museum, Maastricht 2015.

On the left: Robert Filliou, Mona Lisa is sitting on the stairs, 1969, MHKA, Antwerp, 2016.
On the right: Dmitri Prigov, For the Poor Cleaning Lady, 1991 (detail), museum, Montpellier, France 2019.

On the left: Malevich exhibition 1915.
On the right: Blue Noses, 19 photographs on dibond, 1993, The Malevich show copied with salamis, at Moco, Montpellier, France 2019.

On the left: Juan Luis Moraza (1960), Republica at Reine Sofia museum Madrid, 2015.
On the right: Côme Mosta Heirt (1946), Without legs 2005 at MRAC museum Serignan France, 2019.

On the left: Antoni Tàpies, Sudden Awakening 1993 at Macba, Barcelona Spain 2016.
On the right: Anton Olshvang, Bed 1991 at Moco, Montpellier, France 2019.

This is far from the same, although the effect is similar to arrange a group of the same elements in one shape. On the left: Well known is Richard Long, here with Flint Line from 2012 at C.A.B in Brussels in 2017.
On the Right: Kcho's Regatta 1974 at Ludwig museum Cologne in 2018.

On the left; Hundreds of Christians protested outside the Haifa Museum of Art in Israel in January 2019 against Jani Leinonen's Mc Jesus 2015.
On the right; Jake & Dinos Chapman The Sum of All Evil, 2013 (detail) at Aros museum Aarhus Denmark in 2018.

On the left: A rhombus slowly turning around its center by Anselm Reyle. He showed this huge metal mobile in 2017 at König Galerie in Berlin. Much earlier, in 1973 Tomitaro Nachi made this aluminium mobile (on the right). A similar rhombus that repeats itself from the middle, slowly turning around its center. it is being shown in the Hamburger Kunsthalle in 2018.

On the left: Piet Mondrian, composition, 1917 at Boijmans van Beuningen museum Rotterdam The Netherlands 2015,
On the right: Oleg Prokofiev Around the Centre, 1957, Moco, Montpellier, France 2019.

On the left: Marlow Moss White and Yellow 1935, at Tate St Ives 2018
On the right: Piet Mondrian, Composition with Yellow, Blue and Red, ca.1937-39 at Tate St Ives 2018

On the left: Ugo Rondinone (1964), Vierzehnterapril 2011 at Museum Voorlinden The Netherlands in 2016.
On the right: Robert Rotar made Rotation Bleu No11 in 1969. Here at Kaiser Wilhelm Museum Krefeld, Germany 2019.

In 1964 Jan Cremer wrote his book I Jan Cremer. With on the cover the black and white print of the man and his motorcycle. His exhibition was in 2015 at Museum de Fundatie Zwolle.
In 2018 there was an exhibition Men and Masculinity at the Louisiana Museum in Denmark featuring Andy Warhol silk screen prints picturing Four Marlins (Brando) from 1966.

On the left: Painting by Annemarie Busschers in Museum MORE Gorssel, 2015. hyper-realistic, monumental portraits.
On the right: Wim Schuhmacher, Self portrait 1941, at Museum Arnhem 2016.

On the left: César Baldaccini, Compressed car bodies 1989 at Musée d'Art Moderne de la Ville de Paris in 2015.
On the right: John Chamberlain n.t. 1963 Merged and welded car body parts at MMK Museum für Moderne Kunst Frankfurt am Main in 2018.

Car wrecks. On the left: again César, Dauphine 1970 and on the right: Arman, La Tulipe, 2001 both in Mamac, Nice France, 2019.

On the left: Marcel Duchamp Roue de Bicyclette 1913. Replica at Museum Ludwig Cologne 2018
In the middle: Gabriel Orozco Four Bicycles 1994 at Tate Modern London.
On the right: Ai Weiwei Forever 2003 at De Pont Tilburg.

On the left: Lee Ufan  at Centre Pompidou Metz France 2019.
On the right: J.C.J. Vanderheyden Airplane window 1977 at North Brabant Museum ‘s-Hertogenbosch The Netherlands 2014.

On the left: The installation in K21 in Düsseldorf full of thickly painted panels, from 1980 is called the key work of Imi Knoebel.
The work of Imi is reminiscent of the lacquered panels by Esther Tielemans (*1976), at the right, at museum Voorlinden, Wassenaar in 2016.

Painted clouds on objects; at the left: René Magritte, The future of the Monuments 1932 hung next to Geoffrey Hendricks, Sky Car 1978 Volkswagen beetle at the Lehmbrück Museum Duisburg Germany 2019.

On the left: Martial Raysse (1936) High Voltage Painting 1965, Mixed media and neon light at Stedelijk Museum Amsterdam 2016.
In the middle: Liliane Vertessen (1952) MM Lola, Mixed media with neon gas tube 1983, at MHK Antwerp 2016.
On the right: Billy Apple (1935) Relation of Aesthetic Choice to Life Activity of the Subject, Lithograph with neon gas tube 1961, at Tate Liverpool 2018.

On the left: This wall painting by Ian Davenport (1966) was spotted in 2015 in London behind Tate Modern under a bridge. His work, in which he makes vertical stripes by means of gravity, can also be seen in Museum Voorlinden Wassenaar.
On the right: Gerhard Richter (1932), V.Strip, 2011, digital print, Frieder Burda Museum Baden-Baden Germany 2019.

On the left: Donald Judd, Untitled 1980 Tate Modern London 2015.
In the middle: Jose Dávila, No title 2010 museum Voorlinden, Wassenaar 2016.
On the right: Jose Dávila, now with open boxes and gold leaf at Art Basel 2019.

Katharina Grosse, here at König Galerie (Left) and the Swiss Christine Streuli (Right) who won the Fred Thieler prize for painting at the Berlinische Galerie both in 2017 in Berlin.

On the left; Roni Horn (1955), The River Thames 1999 at Caixa forum Madrid Spain in 2015.
In the middle Tom Fecht (1952), DeepTime, Siver gelatine print at museum DKM Duisburg Germany 2019.
On the right; Peter Hujar, Hudson River 1976 at the The Hague Museum of Photography The Netherlands 2017.

On the left: Charlotte Posenenske Diagonal Folding 1966/1989 collection Ludwig Museum Coulogne.
On the right: Marthe Wéry, Triptique 1977/1985 at BPS22 Charleroi in 2017.
Her works show the same effect of folding and she experimented with this the same period as Posenenske.

Doesn't look the same but it is the same kind of idea: On the left: Bogomir Ecker’s Dripstone Machine from 1996 needs 500 years to make stalagmites and stalactites in Hamburger Kunsthalle Germany (2017) while Pierre Malphetts, on the right, during the exhibition does it with his Volcans, at Mrac, Serignan, France, 2019.

Copying is from all times, top left: Mona Lisa by Leonardo da Vinci from the early 16th century in the Louvre in Paris. The Mona Lisa often is copied.
Top right: the Mona Lisa of the Prado is a copy from the same period.
Bottom left: L.H.O.O.Q. by Marcel Duchamp. Conceived in 1919 and designated as a rectified ready-made.
Bottom right: George and Mona in the Baths of Cologne (detail) is a ceramic work by Robert Arneson from 1976. It was shown at Ceramix at Bonnefanten museum Maastricht in 2015.

Top: Also located at K21 in 2018 in Düsseldorf, Hans-Peter Feldmann showed a number of landscape paintings opposite each other at different heights, but in such a way that the horizons form a straight line.
Second: This is a well-known idea by Ger van Elk in 1999.
Third: In 2016 Daan Roosengaarde was discredited because he also implemented the idea. But Daan put a spot on it and only used seascapes.
Bottom left side: A more similar idea is from Leo Fitzmaurice, he won the Northern Art Prize with a similar work as if from Van Elk in 2011.
Bottom right side: Jan Dibbits went a step further and placed photos, his own photographs, with the horizons in line, earlier.

On the left: As we know CODA, Apeldoorn, has many jewels in its collection. In 2015 here was a necklace like an elongated drop made of pinched crown caps, from 1997.
On the right: a necklace named Phyton, by David Bielander from 2011, is made out of titanium and silver. Not quite comparable but it also caught my attention at CODA, Apeldoorn, The Netherlands, 2020.

Above: Robert Zandvliet, Moon Night 2009
Tempera on linen. Museum Voorlinden, Wassenaar
Below: George Hendrik Breitner, Moonlight ±1888
Oil on canvas, Musée d'Orsay, Paris
Copied by Zandvliet in a way that is familiar to him, with a paint roller.
He is allowed to do this, the copyright has expired.