Striking Similarities

How amazing it is to see artists getting the same ideas and inspiring each other.
   Plagiarism is spoken of sometimes in the art world if one and other makes similar things. Most of the times this is not plagiarism; Different artists can even carry out the same idea without knowing about each other's ideas. Consciously or unconsciously artists take over ideas which they store in their memory. Whoever gets along with it, it is not a contest in which one was the first who got the idea. Artists learn from each other, they look at each other. The next idea always has a source, an earlier idea.                        

On the left: Giuseppe Licari, Sky in a room 2007 Gallery Hommes, Rotterdam.
The tree has been cut in pieces, archived, burned and rebuilt inside the exhibition space.
Thanks to Jannie Hommes.
On the right: Ai Weiwei, Tree 2010. Reconstructed with bolts and nuts. Fondation Louis Vuitton Paris 2016.

At the left: Juan Luis Moraza (1960), Republica at Reine Sofia museum Madrid, 2015.
At the right: Côme Mosta Heirt (1946), Without legs 2005 at MRAC museum Serignan France, 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: Herbert Nouwens (1954) Spiegel at Van Voordenpark Zaltbommel since 1999.
On the right: Bernar Venet (1941) Trois Lignes Indeterminees 1995 at Frieder Burda Museum Baden-Baden, Germany 2019.

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: Lee Ufan  at Centre Pompidou Metz France 2019.
In the middle: Andrei Roiter, Illuminator. Acryllic, Facebook 2019.
On the right: J.C.J. Vanderheyden Airplane window 1977 at North Brabant Museum ‘s-Hertogenbosch The Netherlands 2014

On the left: William Forsythe (1949), City of Abstracts 2000 at Museum Folkwang Essen Germany 2019.
On the right: From the Dutch multimedia artist Bill Spinhoven van Oosten (1956) the same idea. He developed his Time Stretcher in 1988 Hengelo. At the time it was used at an opening in Amsterdam The Netherlands.

Not a hyper realistic painting but very subtle and professional photos.
On the left: The Dutch Diana Monkhorst (1977), Quinces in milk at WTC Utrecht the Netherlands 2019.
On the right: The Greek/German Evangelos Koukouwitakis (1956) still life at Cubus Kunsthalle Duisburg Germany 2019.

Reflection photos, at the left: Astrid van Rijn (1966), City reflectie, 2016. More on the Astrid van Rijn website.
At the right: Thomas Ruff (1958) h.t.b.08, 2000 at the Kaiser Wilhelm Museum Krefeld Germany 2019. In the reflection you see Mies van der Rohe’s Barcelona-chair.

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.

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: 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.

Frank Borst

Left: Arman, White Orchid 1963 Blasted sports car at MMK Museum für Moderne Kunst Frankfurt am Main in 2018.
Right: Frank Borst, Christine from Mostar 1996, Fiat 600 from Bosnia war zone, at Rob Scholte Museum 2017.

On the left: Anselm Kiefer, Jason 1989, Lead, glass, tooth bone, wood, plastic and snakeskin. Refers to the Greek myth of the king’s son Jason. Louisiana Museum Denmark 2018.
On the right: Frank Borst, Paradise Bird  > 2001. The interior of the plane consist of electric elements as pinball-machine parts and colored lights at Rob Scholte Museum 2017.

On the left: Joseph Semah (1948) Measurement in Time 1983 at Facebook 2019.
On the right: Mark Manders (1968) made Fox, Mouse, Belt nine years later in 1992. Published in 'Freedom; Fifty Key Dutch Artworks since 1968' by Hans den Hartog Jager 2019.

On the left: Jean Michel Basquiat Irony of Negro Policeman 1981, printed on skateboards at Fondation Beyeler, Riehen Switzerland 2019.
On the right: Agus Suroso Niart The End of the Year Trumpet Doreamon trickery. Acrylic on canvas, 3 x 2 meters on Facebook 2018. Both artists use texts and graffiti referring to social political issues.

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.

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: 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: A hall in K21 in Düsseldorf full of thickly painted panels, high gloss. To see the format it must be interior doors, but without handles. The installation from 1980 is called the key work of Imi Knoebel because with this abstract minimalism he ignored conventional painting.
The work of Imi is reminiscent of the lacquered panels by Esther Tielemans. We could see her works in various Dutch museums; as in Stedelijk Schiedam and here in 2016 at museum Voorlinden, Wassenaar (on the right). Tielemans was 4 years old when Knoebel made his work.

On the left: Tony Gragg glass sculpture at Mudam Luxembourg, 2017. In the same year Bernard Heesen made these glass 'Fat cells' (R) and put this photo on  his Facebook page.

Top: In Museum De Fundatie Zwolle in 2015 monumental works were shown by Dutch painter Tjalf Sparnaay. He is known from his blown up hyper realistic paintings and he enlarged a burger in 2004 and a fried egg in 2008.
Bottom: the Italian Marcello Barenghi uploaded a video in 2015 where he is drawing a burger.  He also drew a fried egg in 2016.

Comparisons are made not only between celebrated artists whose work is frequently seen in museums but also with relatively lesser known artists. The question is: Why are museums now and then showing weak pieces of their darling celebrities instead of masterpieces by equal but lesser known artists? So, this statement is not about plagiarism or about a contest but more about art policy in common.

Kees van de Wal

After seeing Christopher Wool in Berlin (left without hat), in Zaltbommel at Kees van de Wal's studio hung a similar work (right). The statement became visible; about the millions of artists of which there are a lot of fantastic work and the relatively few names in the museums. Nobody can tell you that a lesser piece by Christopher Wool is still better than a well done piece by Kees van de Wal. Nevertheless, the works are disproportionately received and appreciated.

On the left: Christopher Wool, No title 2007 enamel on linen, 243.8 X 198.1 cm collection Ludwig Museum, Cologne.
On the right: Kees van de Wal, No title 2017 acrylic on paper, 162 x 122 cm.

On the left: Ellsworth Kelly Blue Ripe, 1969 oilpaint on canvas 152,5 x 152,5 cm.
At Opening exhibition museum Voorlinden 2016.
On the right: Kees van de Wal, No Title #385 2017 acrylic on canvas 30 x 24 cm.

Ad Arma

Left: Gerhard Richter, one of his many stripes paintings at his retrospective at S.M.A.K Ghent in 2017. Right: Ad Arma’s latest series Travel Mirrors are excellent paintings. In many nights Ad Arma has set up these paintings line by line, with the support of his favorite (jazz) music. In horizontal strokes of pure oil paint on canvas.

Difference is that the paint Ad Arma uses is oil paint, very thick, build up with brushes and palette knives (left).
Right: the pure paint is also used by Volker Hildebrandt, as dots. Here in the Rob Scholte museum in 2017, Den Helder.

On the left: Ad Arma is multi talented. In this exhibition in Ingen 2017 he combined his paintings with very special glass sculptures.
Middle: glass sculpture at Contemporary Art Centre Wiels in 2017, Brussels.
On the right: Jan Fisar, Glass, exhibition in 2018 at Kunstpalast Düsseldorf

On the left: Ad Arma, Vehicle 2004
The signature of Ad Arma has similarities with The Welded (on the right, 2015) from one of the most influential dutch artists Joep van Lieshout. You can find Van Lieshout's works in a lot of museums in the Netherlands and abroad.
For the monument in Vlissingen, Men Between Steel, that I was allowed to make, The Welded was the other nomination.

André Smits

Everywhere in the world where André shows up to photograph artists in their studios he paints his home-tattoos. More on his Artist in the World website: Klick here.  
Top: Keith Haring painted a container in his familiar way, here it is moved from Verbeke Foundation Belgium.
Bottom: May 2017: André Smits from Artist in the World came over and we painted the Museum Container in his familiar way. Not with artist names but with the names of the European museums.

On the left: In the Dutch village Hoek André painted a whole house with the artist names.
The Hoek house is demolished and the fragments are brought to the Verbeke Foundation in Belgium. André Smits is not the only one who is doodling whole interiors. On the right: the Belgian Joke Neyrinck. Her stop-motion video in which she is doodling her bathroom in 2017 went viral.

At the left: Qiu Zhijie (1969), map of Zhongshan park, 2012. Wall doodle at Van Abbemuseum Eindhoven 2015.
At the right: André Smits (1960) Wall doodle at Kunsthal Rotterdam 2015 (photo: Theo Goemaat).

Direct from the Monika Dahlberg Facebook page:
Keith Haring Grace Jones (Left) & André Smits Monika Dahlberg (Right).

   Robert Mapplethorpe’s picture of Grace Jones painted by Keith Haring was commissioned by Andy Warhol for Interview magazine 1984.
Monika Dahlberg is painted by André Smits in 2017.

On the left: paintings by Annemarie Busschers in Museum MORE Gorssel in 2015: hyper-realistic, monumental portraits.
On the right: Harm Rutten from his Facebook profile-photo. He also has the patience and knows how to draw realistically.

Also very realistic.
Left: Dimitris Tzamouranis (1967), 36º 45'N-021º56'E, 2015, Documenta XIV Kassel at the Fridericiaunum in 2017. Oil on canvas.
Right: Ramsay Gibb (1965) Upcoming tide 2016, oil on canvas. Instagram: Ramsay Gibb.

If it comes to water; Left: In Amsterdam at the Kunstrai in 2016 there were nice big pictures of water surfaces by Lenny Oosterwijk. This photo (with Shirin in the foreground) has a metallic glow.
Right: Someone who has also made his specialty of water photographs is Gerrit van Meurs. His Waterworks are pure. No photo shop, no distracting topics. You may compare his photos with the Horn or Hujar museum pieces.

On the left: Ab van Hanegem at Galerie Gilla Lörcher Berlin in 2017. The powerful work reminds at the spatual strokes of Karl Otto Götz. Here on the right in 2018 at Kunstpalast Düsseldorf his work from 1975.

The colourful works of Van Hanegem also have similarities with the paintings of Katharina Grosse, here at König Galerie (L) and the Swiss Christine Streuli (R) who won the Fred Thieler prize for painting at the Berlinische Galerie both in 2017 in Berlin.

An artist looks at his example. During a Mondrian Fund network meeting at Expoplu, 2017, Nijmegen, Marloes Meijburg presents her plans for her grant request (on the left). As artist in resident she will stay in Chile and Finland and make studies of the natural pigments you can find there. Herman de vries is her great example. Located in the Netherlands (on the right) his work at Museum Van Bommel Van Dam in 2015.

On the left: Leon Adriaans (1944-2004), n.t. Oil on plywood at Museum Belvédère Heerenveen in 2015.
On the right: Rob Scholte, Cars, at Rob Scholtemuseum 2017.

Suggestive three-dimensional objects of metal wire.
On the left: Haris Epaminonda, untitled 2014 (two dimensional). Museum Voorlinden Wassenaar 2016.
On the right: Coen Vernooij, a wall in his studio, Nijmegen 2015, the objects change when you change your viewpoint.

This is far from the same, although the effect is similar to arrange a group of the same elements in one form. 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: 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; 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: 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: Giuseppe Penone (1942) Bifurcation, bronze casted tree 1987-1992 at Fondation Cartier Paris 2015.
On the right: Fernando Sánchez Castillo (1970) bronze casted tree; Walraven van Hall monument at Frederiks square Amsterdam. Made and unveiled in 2010.
Photo by Michael Ricketts 2018.

On the left: Ellen Gallagher (1965) DeLuxe 2005 one of 60 works on paper based on magazines at Tate Liverpool 2018.
On the right: Monika Dahlberg (1975) one of her works on paper based on magazines and catalogues 2018, private collection.
See also One minute collages.

Double eyes.
On the left: Asger Carlsen, Alex Prager 2012 detail.      
In the middle: Alex Garant on Instagram 2014.
On the right: Victor Man, Lermontov dansant comme Saint-Sébastien 2014 Oil on canvas S.M.A.K. museum Ghent 2017.

Sometimes it's just bad copying:
On the left the original Heidi von Faber 2017.
On the right: Jacqueline van de Aast-Woudstra shameless plagiarism on Facebook January 2019.

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.

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.

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 right: Jeff Koons Fait d’hiver, 1989
We know that Jeff Koons has been accused of plagiarism several times. Even though this is three dimensional and in color, this sculpture was removed from his retrospective at Centre Pompidou, Paris 2015.
On the left: Franck Davidovici, Fait d’hiver, 1985 Naf Naf advertising in 100 Idees magazine.
I made the same image to question Koons plagiarism. 2015 The pig became older.

On the left: Robert Dixon, True Daisy 1991.
On the right: Damien Hirst, Valium, 2000 print (250 ex) Saatchi gallery London 2015.
Hirst often is accused of plagiarism. Click here to see.    And here.
And here; in May 2018 in The Times Magazine Hirst has finally confessed that all his ideas are stolen..          

Jop Horst

Top: Many museums, especially in the Netherlands, but also abroad, have portraits of Marlene Dumas. Three of about one hundred portaits here at Van Abbemuseum in 2015.
Bottom: Three of the 96 drawings that Jop Horst (1961-2014) made in early 2005, published in a booklet in 2010 by gallery Lans Uylen Hengelo. Painted like Dumas almost indifferent.

On the right: a year after Jop died, there was this opening of an exhibition by Bertrand Lamarche at the back of the Center Pompidou in Paris: Installations, phonograms, light effects and more art with a plug (photo at Art Brussels). This could be installations of Jop Horst. Here, on the left, at Rijksmuseum Twente 2013.

On the left: when Jop Horst and I visited the ShadowDance exhibition in KadE art hall in Amersfoort 2010, we saw an installation with moving objects, the Carrousel of the French Serge Onnen. It was almost the same installation as Jop made in 1982. Jop used stringed instruments, drums and all kinds of different stuff that lay scattered around a turntable whith a stick with a pencil hovered around on a string and touched everything.
On the right: Hans-Peter Feldman in 2018 at K21 Düsseldorf.

Film fragments, digital-analog.
Left: Brussels Museum Fine arts Belgium 2017: The Spaniard Angel Vergara showed five light boxes. Large LED screens that show moving images. Layered, abstract and colorful. It is paint on a glass plate that is blurred and you can see the blurred background through. There brightly lit skin of moving people.
Right: Super-8 movie by Jop Horst, 1983. Jop himself is the vague person in the background who applies transparent paint on a glass plate and wipes it away again.

Film fragments, analog-digital.
Top: a good example of Jop Horst as predecessor is his film from 1983 in which he keeps switching the light on and off. The film then becomes dark and a little later the light comes on again.
Bottom: in 2001, almost twenty years later, in Tate Britain the British Martin Creed won the prestigious Turner Prize with the idea of turning the lights on and off.

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: 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.