Jan de Rooden
Chronology and Notes



Ceramic Training

Bursaries and grants

Group shows

Shows solo and
with Johnny Rolf

Lectures, workshops,

  Pot "En route" 1991, H. 31cm. Priv. col.  


1931 Born August 31st as second son, at Groesbeeksedwarsweg in Nijmegen, the Netherlands.
April 1st 2016 died in Amsterdam.
1936 Mother dies in hospital from diphtheria after only three days on March 28th, father's birthday.
Without goodbye she disappears from my life and from our tender family. Not even a portrait to remind one of her being.
1937 The family moves to the hamlet Heilig Landstichting, municipality Groesbeek. Here father remarries.
Already before my sixth birthday I was admitted to Elementary School of the Heilig Landstichting which also comprised a preparatory
class for secondary education.
An interesting school with gifted teachers, studying for a further degree, and with many students from elsewhere.
The landscape around us formed a beautiful country to grow up in.
The hilly, wooded sand moraines that continue till over the border with Germany on one side and with the polder landscape of the Ooy
on the other side.

A big influence during primary school had the six months mobilization in 1939 and the years of second world war, which started in the Netherlands on May 10 1940. My father was in the army in Schoonhoven then.
The life of our expanding family was heavily affected and disrupted by these events.
The large buildings in our neighborhood were all confiscated by the occupying forces and we lived amidst German soldiers.

1944 On Sunday September 17th gliders with Canadian parachutists landed near Groesbeek. That same afternoon they reached our neighborhood.
We were liberated, but the chaotic times remained..
Because of war actions our school stayed closed for many months before and after liberation.
In November 1944 I left home for the Passionist monastery in Mook, that was adapted to minor seminary for the time being.
August 1945 I moved to Haastrecht, to the Passionist seminary St. Gabriël proper.
In the summer of 1944 I had visited the monastery in Mook with a cousin of my stepmother, a father Passionist.
The serene, harmonious atmosphere of this monastery appealed strongly to me.
The high, white rooms, the fascinating hours choir, the refectory with its heavy, long tables of unprocessed wood, I loved all of it.
The sturdy monks in black coat and habit, their bare feet in sandals, were very convincing indeed
During grammar school literature and recitation were important subjects. I loved recitation and acting, subjects in which I excelled.
From my class I was chosen to enter for the State exam gymnasium, that started to become popular.
But I failed in July 1952 in the Hague.
September 1952 I became novice in the Passionist monastery in Pey, but after nine months I left the novitiate forever.
Ultimately I could not reconcile myself with life in a monastery. I found that life too cut off, too safe and too well-provided for.
Back home in Nijmegen I took up the study for the state exam gymnasium again.
I broke off this study as soon as I heard that as yet I would be called up for military service.
On February 1954 I dashed off to France hitchhiking to orientate myself on my future without restraint.
I was thinking of becoming a poet and art critic. For the time being I had to try to earn my crust in the daytime in Paris and onwards
as a working student. In the early night I wrote and translated.
End 1954 I did find even so in the mail a call-up for military service. My elder brother temporarily took over my job and room and I left
to report and to explain in person that I was an antimilitarist.
It took some doing but within three months I was back in Paris.
1955 Returned to the Netherlands, I found a small room in the centre of Amsterdam and there, unexpectedly, decided in September
to become a potter.

Ceramic training


Pottery trainee
1955 - 1957

Autumn 1955 I quite suddenly decided to become a potter.
To train me in this craft I rang the doorbell of the one pottery in Amsteram which was known to work by hand only, pottery Lucie Q. Bakker.

Lucie was waiting for the jiggering machine she had ordered to be able to make a living. She engaged me, I recognized soon, to work with that new equipment .
So instead of working with clay on a potter's wheel, I started with plaster of Paris on a machine.
Lucie showed me briefly how to operate it, and there I started to translate her products first in solid plaster models, master models really, from which came the cup molds in which I daily was jolleying her products in clay.

Much had happened, when I left her autumn 1957. While I became familiar with the discipline and the rhythm a life with clay demanded, and while I learned to glaze and to fire the kilns, Lucie's pottery grew into a semiautomatic workshop with a reliable production.
Now the time had come to go my own way and to work out my personal ideas of working with clay and making ceramic art.

In 1956 in the autumn Johnny Rolf  had crossed my path. A close acquaintance followed and we decided at once to start in a year's time a ceramic studio together.
That studio Johnny Rolf en I began indeed in the autumn of 1957 in the small basement of the house of her mother at Weteringschans 34hs in Amsterdam.

My experience being quite limited yet, we both actually started as autodidact..
To earn a living we got jobs on the side. By doing so our working in clay would remain unburdened and personal, Johnny meant.
In this way we could study, experiment and exercise as we desired. / wished
At the end of 1959 we thought our ceramics ripe for an exhibition.

Guest student 1956

In 1956 I had the opportunity to attend classes one morning weekly for the glaze course that Dr. Theo Dobbelman gave at the Instituut voor Kunstnijverheidsonderwijs in Amsterdam.
This became a thorough, exciting introduction into the world of denominations and practices, in which every ancient craft abounds. It went from empirical experience to molecular calculation.
All ceramic raw materials, their origin and purpose, their properties and mutual interaction during a firing were focused on.
For a difficult reader like me this verbal dealing with the matter meant a perfect key for the text books waiting.

A ceramic artist himself with a studio of his own, Theo Dobbelman was fond of sharing his experiences with his students.
He for instance emphasized on giving ones studio from the start an imaginary name to avoid any suggestion of a ceramic business.
In this way one introduced oneself as autonomous artist focused purely on design and on expressing personal views and emotions in clay.

Study books

Six books have been essential for our craft training.     

- "Glazuren" door F. Wesselink

                    1957/58 - "Einfaches Chemisches Praktikum" von Prof. Dr. Eduard Berdel; V. und VI. Teil.

                    1960 - "A Potter's Book" by Bernard Leach

                    1962 - "Clay and Glazes for the Potter" by Daniel Rhodes

                    1976 - "Kilns" by Daniel Rhodes

                    1978 - "Saltglaze" by Peter Starkey

Grants and Stipends

1960 The Interest-free loan that we received from the Stedelijk Museum, Amsterdam, at the initiative of Paula Augustin, curator
Applied Arts, came as a wonderful surprise. It was not a bursary or stipend proper, but it certainly was an encouraging sign of trust.
Now we could take over the studio of artist Bert Nienhuis, who had recently died, and exchange our small basement-alcove
workshop at Weteringschans for the high, light rooms at Kloveniersburgwal.
1962 Travel grant Dutch Ministry of Culture.

With this stipend I could visit Scandinavia and Finland, expensive countries.
By hitch-hiking Johnny and I could make this journey together.
Several years in succession I had pleaded with the Ministry to include also potters and ceramicists in their program of travel and study grants.
This was the first travel grant awarded to a potter.
1962 British Council Bursary.

With this bursary I could travel to England and spend three months at the Farnham School of Art to learn
about fire clays, stoneware and combustion-kilns.
My suggestion, soon after arrival, to also use the bursary for visits to London galleries, museums and ceramic studio's, as well as for a tour
along potteries in South England, found immediate approval.
In my opinion this intense English period became the key-stone in my craft education.
It was great to meet colleagues like Dinah and Richard Batterham. Richard had a marvelous, rather bodily way of throwing,
that was catching.
The moonstone-blue glazes of Katherine Pleydell Bouverie inspired me to strife for this quality, too.

It would carry me too far to mention everybody I was able to meet with such pleasure in these few months time, but some I must mention,
such as the old master Bernard Leach in St. Ives.
I felt honored that he took so much time for me. When I entered his studio he was working on his treadle wheel and very busy, he confided,
preparing for an exhibition in Venezuela. Then we talked. Asked whether I had some of my work to show, I went downstairs to fetch our
Boijmans catalogue. When a minute later I returned, he already was back on his wheel, and he let me first have a close look at the Japanese
tea bowls in a showcase. "Do take them out, those raku bowls are 16th century chawans, from the time they still were good", he said.
He seemed as pleased, that I handled them, as I felt pleased, that he let me do so.
Each visit to Primavera Gallery of Henry Rothschild was a novel experience. Henry had works in stock of a great number of artists and
in a short period of time I could see in his active gallery at Sloane Street a variety of works of English colleagues that appealed to me.
I saw an exhibition of Ruth Duckworth and was introduced to her. Some weeks later the cylindrical pots of Robin Welch were on show.
From each I chose a piece, as I had done from others, too. All were meant for the ceramics collection of friend Jacob van Achterbergh.
Back on the quay of Hoek van Holland I watched with concern the huge suitcases I had bought, hang in the tackles. Inside were packed
works of amongst others Ian Auld, Graham Burr, Gwyn Hansen and Bernhard Leach. Only the handle of a jug by Paul Barron did
not survive the stormy passage.
1964 "Contour Prize" from the Porceleyne Fles, Delft, together with Johnny Rolf
Studio Guest  Gustavsberg Fabriker AB, Sweden.

This fruitful sojourn Johnny and I owed to her initiative.
Having been awarded a Prize at the Concorso Internationale della Ceramica d'Arte , in Faenza, Italy, Johnny wrote to Stig Lindberg, Gustavsberg's Art Director. This invitation was the result.
When we met Stig in person he told us that judging the works of Johnny Rolf in Faenza he had made clear to his colleague jurors,
that for once his preference should prevail.

Travelgrant from the Svenska Institutet, Stockholm, for a tour along glass- and ceramics studio's in Småland together with Johnny Rolf.
On my return I enthusiastically presented the curators of the Stedelijk Museum with information on the surprising artworks we had seen and
of the names of their makers.
This became the incentive for the exhibition "Twelve Swedes", Ceramics and Glass, Stedelijk Museum, Amsterdam, 1968 and Museum
De Zonnehof, Amersfoort, 1969.

1968 Dutch Ministry of Culture Travel grant.

This grant was a contribution to our planned work-sojourn in the United States in 1969.

For some years already our Kloveniersburgwal studio was visited by Americans, who located our address in museums or elsewhere.
So often they said good-bye with the serious wish: "You should come to the States and teach us".
Summer 1967 Prof. Glenn C. Nelson and his wife Edith visited us again. Two years before they had rang the bell and it had been friendship
at first sight. They, too, were convinced, that we should share our philosophies and craftsmanship with American students, and said so again.
But this time Glenn added, that he was going to take action.
As the author of the study book "Ceramics, a Potter's Handbook", Glenn knew professors and teachers at universities and academies all
over the United States. He probed their interest and when positive he arranged contact. In this way in the course of 1968 a pattern of lecture
and workshop locations emerged on which we could plan a tour. Now it was time to apply for a Government travel grant.
In those days it was possible to take up the phone and explain ones plans to the person in charge in the Ministry. In our case this resulted in
an ad hoc positive decision.
This Dutch government travel grant, covering the return flight Amsterdam - New York, had its own stimulating effect in the proceedings.
As publications on us and on our ceramics were still scarce, the grant at moments helped the head of a Ceramics Department to persuade
the Dean of a Faculty to allow a sum for our visit. This was particularly so, when we contacted an art school on our own initiative.

When in February 1969 we landed in New York, we had agreements all over the States deep into the fall. An adventure had started, that
we had looked forward to for several years. Not only were we finally underway to share our craftsmanship and philosophies with students,
also our longstanding wish to experience America as a continent would be satisfied.

In the Netherlands sympathy for the United States suffered gravely under the Vietnam war. At the same time we ourselves often felt a
spontaneous sympathy for the Americans who increasingly visited our studio. On the sidewalk in front of our house, situated close to
the youth hostel, we almost daily saw students from the States. Their enthusiastic frankness appealed to us.
On another page I hope to describe more in detail our experiences with America. The openness, the enthusiasm and the hospitality we met
so abundantly, will be keywords.
Then, too, I will list the many places we visited and the 30 odd universities and art schools we gave lectures and workshops at.
1973 Dutch Ministry of Culture Travel grant.

This grant was a contribution to our study- and teaching sojourn in Asia in 1974.

For years already we looked forward to the moment, that we could travel to the Far East and South East Asia.
Summer 1970 a letter arrived from America, sent by the Indonesian colleague Eddy Kartasubarna. In the States he had heard about us.
He would like to meet us on his return journey to Bandung, where he was head of the Seni Rupa the Art Academy of the "ITB" Bandung.
Our first acquaintance in Amsterdam was animated. We had all kinds of stories to exchange. Our work appealed to him and so did
the story of our start. It fascinated him that we, with idealism but almost without means had started our career self taught and completely
on our own, and now had gotten this far. He wished that his students, who mostly had to start from scratch, too, could share our experiences.
So the idea of a guest teacher-ship evolved, a plan we all three embraced. From both ends we would work on it.

Early 1973 Korea and Japan came into the picture. Friends from the States and from the Netherlands worked and travelled there.
Their lively descriptions of these countries, their encounters and experiences together with their suggestions nourished our plans.

In the summer of 1973 Norimichi Aiba appeared in our studio. He travelled all over Europe to buy works from ceramic artists for the
"The 2nd Chunici International Exhibition of Ceramic Art" in Nagoya, organized by the Chunichi Shimbun newspaper and
television company. This show was scheduled for April 1974.
We became friends with this spontaneous, open young man, who in the future would more often stay with us.
It was Aiba San's first independent mission abroad and we could assist him in making contacts in the Netherlands and in Germany.
Earlier Aiba had been his firms host and guide to official visitors to his country. He was delighted to bend over the map of Japan together
with us and to advise on the places to visit, particularly on the ceramic sites.
When we parted there was a tempting travel itinerary for the Japanese island empire on the table complete with a time schedule.
Once returned home, Norimichi promised, he would look for possibilities for us to lecture and give workshops.

In a short period of time our plans for a journey to Asia were shaping up well.
We had a definite agreement with the ITB in Bandung on a guest teaching period in the coming summer of 1974.
We even had a departure date in mind. Early April, immediately after the vernissage of our exhibition in Museum Boijmans, seemed
the perfect moment to start the journey to Japan.
The Ministry of Culture smoothly complied with our request to fix the amount of the awarded travel grant on the cost of two tickets on
the Trans-Siberia to Yokohama.


Kokusai Koryu Kikin   (Japan Foundation)

Late autumn I made contact by telephone with the Embassy of Japan to inform the staff of our planned visit.
I was put through to first secretary, Mr. Yutaka Kondo, also head of the "Hospitality and Conference Service" in Tokyo.
An animated conversation followed which ended with my suggestion, that he and the Ambassador were most welcome in our studio.
This he would gladly discuss. The visit of Ambassador Ryoso Sunobe and Mr. Kondo that resulted, was a real pleasure. They let themselves
be entertained in a relaxed way and they enjoyed our ceramics, especially the early reduced wares with glazes in green and bluish celadon 's.
When at last we said goodbye, after having been their guests at a luncheon in the recently opened Okura Hotel, the Ambassador let us know,
that he could not do much for us here, but that in Japan we could count on the assistance of Japan Foundation whenever possible.

What this assistance meant, we understood, when we looked over the rail while our ship moored in the port of Yokohama. Below on the quay
two gentlemen held up a banner "Welcome Mr. and Mrs. Jan de Rooden. When we waved, they quickly rolled it up. On board we had heard
the worrying news, that there was a train strike on. But once disembarked the two gentlemen of the Hospitality and Conference Service guided
us to a limousine, which took us straight to our ryokan in Tokio.

Next morning a hostess of the Hospitality Service brought us to the head office of Japan Foundation, where we were greeted by director
Mr. Hiroshi Murata, who invited us at once for a visit to the Idemitsu Gallery. We stood in awe for this wonderful collection of Japanese Art in so many forms, and with excitement recognized their masters and quality.
Too soon Mr. Murata took us back to his office, where after a short exchange with his co-directors, he introduced us to Mr Sakato as "your host in Japan".
(Only years later did we realize, that the outing to the Idemitsu Gallery had been an examination, and that we had passed.)

From behind his desk Mr. Sakato with great enthusiasm attended to our Japan stay. We remained in close contact until two and a half months
later we left Shimonoseki for Korea. In accordance with our travel schedule, Mr. Sakato provided us everywhere with the necessary tickets
for train, bus or taxi. In the town or village of destination he would book for us a hotel, ryokan or youth hostel, where we then did stay at our
own expense.
Of vital importance were the interpreters, that Mr. Sakato organized for us. They translated the lectures I gave for amongst others the students of
Prof. Kasuo
Yagi at the Kyoto College of Fine Arts. Interpreters accompanied us, too, on the more important visits as to Shoji Hamada
and his wife in Mashiko, to Kyomizu Rokubei, sixth generation master potter in Kyoto and to the centuries old ceramic centre Shigaraki,
where Naokato Ueda and his son had their Noborigama kilns.

In Amsterdam we had not been able to arrange any contacts in Korea.
For that reason the letter from the Dutch Embassy in Seoul, that reached us en route in Japan, was particularly welcome.

Mr. W.Ch.E.A. de Vries, Chef de Poste of the Royal Dutch Embassy had been briefed on our visit by Mrs. A.M. Kalmeijer,
our contact person at the Ministry of Foreign Affairs, International Relations Department, in the Hague .
He would like to know what the Embassy could do for us and he and his wife would like to receive us, as soon as we arrived.

Mr. and Mrs.de Vries - van der Hoeven , Wil and Leentje, gave us a surprisingly warm welcome.
We liked each other from the start and the guestroom in their hospitable embassy house would be our home base
for the month to come.
Our host and hostess already had developed initiatives to bring us into contact with artists and students.

Mr. de Vries, just recently appointed Head of the Dutch Embassy in Korea, during his courtesy call to the president
of Hongik University, Dr. Lee Hang-nyong had mentioned our interest in giving lectures. This message fell on fertile ground.

Soon after our arrival we visited Hongik University accompanied by Mrs. Leentje de Vries. Her command of the Chinese
language was very helpful, when English was not up to the mark. Prof. Lee Dai-Won, Dean of the College of Art and
well-known painter, expressed to her his admiration during our tour through the dynamic departments - two thousand students -
and along the energy-sparkling studio's.
It seemed a wonderful idea to professor Lee Dai-Won to conclude the study year with lectures by us on our work.

So it happened that one week later we stood before hundreds of students in a packed auditorium to enjoy
a thoroughly pleasant day, which ended with tea with the ceramics students gathered around us in a circle.
Professor Lee Dai-Won encouraged them to forget their shyness and to question us. This lead to spontaneous,
unexpected reactions, that made clear to us how intensely they had absorbed our works.

Meanwhile we had visited Prof. Ron duBois in Daegue. In 1969 we met in Stillwater, Oklahoma, where he had invited us
to give a workshop for his students at the Oklahoma State University.
In the framework of a Fullbright Program he was in charge of the ceramics department at Keimyung University, while he also
helped to set up the ceramics department at Yeungnam University.
We had a lot to talk about and therefore decided to visit together the Haein-sa Temple in Janggyeong Panjeon.
During the bus ride in pouring monsoon rains we passed Onggi ¹) potteries, where Kimchi ²) pots were being made.
Ron would make a film ³) about them, to which later from our home in Amsterdam we contributed text.

During her courtesy visit to Dr. Okgill Kim, president of the Ehwa University for Women in Seoul renowned for its
Art education, Mrs. de Vries in her turn mentioned our upcoming visit and our interest in giving lectures on our work and on
European ceramics.
The president listened with a positive ear, but at the time of our arrival summer recess at this university would begin.
She herself would like to meet us personally, though, and give us a tour through the College of Arts. Then we could also see
films on dance and music, important departments of this College.
During our visit later in the month we noticed how free and spontaneous students worked in the not autochthonous techniques
like etching and lithography, whereas for example the painting and textile departments followed a much more traditional path.
Remarkably large and well equipped was the ceramics department. A production of Koryo celadon-inlay 4) was in full swing
and quite a few students found here a holiday-job.

The highlight of our Korea stay was undoubtedly our visit to the Onggi potteries in Icheon.
On our way to them with son Willem de Vries we asked the driver several times to stop at the Koryo celadon-inlay workshops
we passed. Their decorative products were not much to our liking.
When we did spot the Onggi sites, we could not believe what we saw: fields full of pots from knee-height to man-height
stacked around kilns forty meters or more in length, wide enough for a horse and cart and built against a manmade hill
Sometimes two kilns leaned in opposite directions against the same hill.
Here for generations families made the traditional Kimchi pot.

A few days later we would return to absorb this world of tradition once more, and to make photographs.
With unrivalled skill we saw the potters work on wheels sunk into the ground, building up pots from prepared rolls of clay
a meter long. In a concentrated calm rhythm of turning, tapping and throwing, they finished one huge pot after the other.
Then, with a colleague the pot was lifted onto a cloth, and, walking each at a side, they carried it out to dry.
Here we understood, how each region had his own shapes for this utilitarian ware.

As a farewell to Korea we gave a slide lecture on our work at the Embassy itself. Among the guests was, apart from Ron duBois,
Prof. Choud ZaKim of Seoul National University. He was most enthusiastic.
He would have liked to book us for a workshop with his students, but before they would have returned from summer recess,
we would be on our way to our guest teaching engagement in Indonesia, traveling via Taiwan, Thailand and Malaisia.

Too soon it was time to say goodbye to our host and hostess, of whom we had grown very fond.
We had shared so many ideas and subjects and thoughts.
They had anticipated our wishes and taken much time to help organize the necessary visa and flights.
It was good to know, that we were going to meet again in our home in Amsterdam.

¹) Onggi potteries are workshops where for generations families make household wares, particularly pickling pots.

²) Kimchi, pickled cabbage with peppers and other spices, the staple food during the long, harsh Korean winters.
³) “The Working Processes of the Korean Folk Potter”

4) Engraved Koryo style decorations in pots of dark clay are filled in with white or black clay, then glazed with a celadon glaze and
   after firing welcomed as "Koryo celadon-inlay".

Studio Grant Dutch Ministry of Culture.

After having concentrated totally on building gas kilns, on salt firing techniques and on developing classic reduction glazes using a.o.
local materials, my more creative side wished to assert itself.
To work unencumbered, I applied for a modest stipend. I formulated: "that I wanted to develop a more sculptural form with a brighter
palette, and strive for ceramic work in which also the local, Dutch character would show".
To my satisfaction this application was met for three successive years.
Yet after that time I was really happy to be able to return to "the order of the day", meaning that the time of being extra accountable
for what was created in my studio now luckily was over.
Grant to study mud architecture in Egypt

Autumn 1984 and autumn 1985 Johnny Rolf and I made a mud building study tour to Egypt.
In this country much information can be found on mud building methods.
We knew that Nubian villages across the Nile from Aswan, "Garb Aswan", were built entirely in mud brick.
These became the main goal of two study-tours the Dutch Bureau Bilateral Relations of the Ministry of Culture payed for.
Earlier ceramic artist and architect Ray Meeker had asked me to come to Pondicherry, India, to assist him in starting a project, which I
later on called "The fired mud house project". That task appealed to me and I could accept because this same Bureau Bilateral Relations
had agreed to pay for my journey and stay in India.
Our research in Egypt was needed to perform better my consultant job, a task I fulfilled in the dry seasons of 1984/85 and 1985/86.
The staff of the Bilateral Relations office actually welcomed this development project because it included also social and cultural aspects.
They actually had been on the look-out for a possibility to supplement the mainly economic approach of Development Aid by the Dutch
Ministry of Foreign Affairs.


Subsidy monograph

"Prins Bernhard Fonds" grants me a subsidy for the publication of a monograph on my work and my ceramic activities



Participation Group Shows:

1962 "Six Amsterdam Potters", together with Hans de Jong, Sonja Landweer, Johan van Loon, Johnny Rolf and Jan van der Vaart
Museum Boijmans van Beuningen, Rotterdam.
1963 "Dutch Potters Now", Gemeentemuseum, den Haag.

"1ra Exposición Contemporánea", Mar de Plata, Argentina.
1964 "Contour", Prinsenhof Museum, Delft

"Ceramics in the Garden" together with Hans de Jong, Helly Oestreicher and Johnny Rolf, "de Heydael", Laren,
1965 "Ceramics in the Garden, Tapestries on the Wall", Gemeentemuseum, Arnhem.

"New Ceramic Forms", Stedelijk Museum, Amsterdam.
1966 "XXIV Concorso Internazionale della Ceramica d'Arte", Faenza, Italy
1967 "New Ceramic Forms from the Netherlands", Hessisches Landesmuseum, Darmstadt and

Handwerksform, Hannover, Germany.
1968 "First International Biennale of Ceramic Art", Vallauris, France.

"Tapestries and Ceramics", Cultural Centre "de Wheeme", Meppel
1969 "Ceramic Highlights" from the van Achterbergh collection, Museum Boijmans van Beuningen, Rotterdam
1970 "Dutch Ceramics 1945-1970", Centraal Museum, Utrecht

"6a Biennale of Ceramic Art", Gubbio, Italy

"Contemporary Dutch Ceramics, Glass and Tapestries", National Museum, Prague, Czechoslovakia.

"30 Dutch Ceramists", Museum De Zonnehof, Amersfoort
1971 "Twelve Dutch Potters", travelling exhibition organized by the Octagon Center for the Arts, Ames, Iowa, USA
1972 "Ceramics International 1972", Victoria & Albert Museum, London, England

"Changing Ceramics", Museum Bellerive, Zürich, Switzerland
1973 "Thinking, Touching, Drinking Cup", Sea of Japan Exhibition, Kanazawa, Tokyo and Hakodate, Japan.
An exhibition organized by Kimpei Nakamura.
1974 "The 2nd Chunici International Exhibition of Ceramic Arts", Oriental Nakamura, Nagoya, Japan
1975 "Contemporary Ceramics", Musée des Arts Décoratifs de la ville de Lausanne, Lausanne, Switzerland
1976 "Contemporary Ceramics", Musée des Arts Décoratifs de la ville de Lausanne, Lausanne, Switzerland
1977 Invitee "German Ceramics '77", Rastalhaus, Koblenz, Germany
1979 "The 7th Chunichi International Exhibition of Ceramic Arts", Oriental Nakamura, Nagoya, Japan.

"European Ceramics since 1950" Museum für Kunst und Gewerbe, Hamburg and
Hetjens Museum, Düsseldorf, Germany,
1981 "Contemporary German and Dutch Crafts", Museum für Kunsthandwerk, Frankfurt, Germany and
Gemeentemuseum, Arnhem.

1984 "The Thing", Studium Generale, Christelijke Academie voor Beeldend Kunstonderwijs, Kampen
1985 "Encounters, European Ceramics", Museum Stadt Bad Hersfeld, Bad Hersfeld, Germany
1986 "1st Authorized Ceramics Design Invitational Exhibition", Tajimi City, Japan
1987 "Pioneers of Applied Art", Handwerkskammer Koblenz, Koblenz, Germany.
1991 "Ceramics, a Passion", collection of Dr. Cornelius Ouwehand, Museum Bellerive, Zürich, Switzerland

"Imitation and Inspiration", Japanese Influence on Dutch Art, Suntory Museum of Art, Tokyo, Japan
1992 "Imitation and Inspiration", Japanese Influence on Dutch Art, Rijksmuseum, Amsterdam

"Au - delà de la tradition", Institut Néerlandais, Paris, France
1993 "Facets of the same Nature", travelling exhibition, Baltimore, USA

"Building with clay", Yvonne Kleinveld, Leo Scholl and Jan de Rooden, Galery SiO², Maastricht
1994 "Facets of the same Nature", Canadian Clay & Glass Gallery, Waterloo, Canada,

Karsh-Masson Gallery, Ottawa, Canada and American Craft Museum, New York, USA
1996 "Facets of the same Nature", Gemeentemuseum, Commanderie van Sint Jan, Nijmegen
1997 "Ceramics of the 20th Century", Gallery Welle, Paderborn, Germany
1999 "Ceramics from Kösters Gallery", Städtisches Museum Schloss Rheydt, Mönchengladbach, Germany

"Millennium Exhibition", Stedelijk Museum, Amsterdam
2000 "The Six Amsterdam Potters together again", Gallery "Amphora", Oosterbeek, together with Hans de Jong, Sonja Landweer,
Johan van Loon, Johnny Rolf
en Jan van der Vaart.
2007 "Die Sammlung Welle", Museum für Angewandte Kunst, "MAK" , Gera, Germany
2013 "Partners in klei", Tiendschuur, Tegelen
2013 /
Ausstellung "Gefäss / Skulptur 2";  Deutsche und internationale Keramik seit 1946; GRASSI Museum, Leipzig, D.;
                  17. november 2013 - 23 mart 2014




Shows solo and with Johnny Rolf

1959 First exhibition at Gallery van Meurs, Amsterdam, together with Johnny Rolf..
By utilizing every free moment to work in our studio Johnny and I, after one and a half year, had gathered from our kiln so many beautiful
pieces, that we went out into the city to see where we should exhibit our treasures.
There was the warm Gallery Magdalena Sothmann, but the rooms we found somewhat drab. Then there were the light, spacious rooms
of Gallery M.L. de Boer. We had discovered there the ceramics of H.H. Kamerlingh Onnes, the versatile artist with whom we would become close friends later.
How well our somewhat darkish, mottled glazes would look in that gallery. But in a friendly note Mr. de Boer told us that he exhibited
the ceramics of Kamerlingh Onnes together with his paintings. For our ceramics he thought Gallery W.J.G. van Meurs" most suitable.
So that is why our work landed in this van Meurs gallery for classic Oriental Art.
In the garden rooms centuries-old Chinese ox-carts were displayed, that we were greatly in awe off.
On the ground floor, where shortly before pots were presented of the old Russian master Vassily Ivanoff, who lived in the French potters
village of La Borne, now our creations were on display.
One of the buyers at our exhibition was Mr. J.W.N. van Achterbergh. The pieces that he chose, were amongst the first of his collection
of modern ceramics. Over the years this collection would grow into one of the important European collections of to-day's ceramics .
1960 Gallery Plaats, "Ceramics from Johnny Rolf and Jan de Rooden", den Haag.
1961 "Hans de Jong, Blockprints; Johnny Rolf and Jan de Rooden, Ceramics", Gallery "Int Constigh Werck", Rotterdam.

"Johnny Rolf and Jan de Rooden Ceramics", Gallery "d 'Eendt", Amsterdam.
1963 "Jan de Rooden Ceramics", Gallery Ina Broerse, Amsterdam.
1966 "Jan de Rooden, ceramics", Gallery Ina Broerse, Amsterdam.
1967 "Holländskt Gästspel", Gustavsberg Gallery, Stockholm, Sweden, with Johnny Rolf.

"Jan de Rooden Ceramics
", Gallery "Het Kapelhuis", Amersfoort.
1968 "Jan de Rooden Ceramics", Gallery Ina Broerse, Amsterdam.
1970 "Recent Ceramics Jan de Rooden", Gallery Wijngaard, Groningen.
1971 "Hard and Soft", "Atelier 8", Stedelijk Museum, Amsterdam.
Under the denominator "Atelier" the Stedelijk Museum offered artists the opportunity to realize ad hoc installations or to tackle a
specific theme. I chose an existing black room, a kind of alienating box, in which I placed and hung my "Hard and Soft" pieces.
These originated as a translation of the tension and pressure I felt in society around me. At the same time they could be experienced
as a rendering of the laws of nature.

"Jan de Rooden, "Hard and Soft", Gallery Judith Weingarten, Amsterdam.
 In contrast with the presentation in the Stedelijk Museum we painted the whole gallery, including the floor, a snowy white.

"Recent Ceramics of Jan de Rooden", Cultural Centre "de Vaart", Hilversum.
1972 "Johnny Rolf, Jan de Rooden, Ceramics - Margot Rolf, Tapestries", Cultural Centre Haaksbergen", Haaksbergen.

"Critique in practice"
, Gallery "Collection d'Art", Amsterdam.
1973 "Ceramics from Johnny Rolf and Jan de Rooden", Gallery Kunstkammer Ludger Köster, Mönchengladbach, Germany.
1974 "Two Amsterdams Potters", Johnny Rolf and Jan de Rooden, Museum Boijmans van Beuningen, Rotterdam.
1975 "Contrasts in Ceramics", Johnny Rolf und Jan de Rooden, Hetjens Museum, Düsseldorf, Germany.
1976 Studio Exhibition, Johnny Rolf and Jan de Rooden, Amsterdam .
1977 "Woven Tapestries by Margot Rolf ": "Starting from four colours" /
"Stoneware from Amsterdam - Saltglaze from Friesland
" by Johnny Rolf and Jan de Rooden, Singer Museum, Laren.
1978 Studio Exhibition, Johnny Rolf and Jan de Rooden, Morra, Friesland.
1979 "Works by Jan Montijn and Jan de Rooden", Gallery Crowinkel, Oldenzaal.

Studio Exhibition, Johnny Rolf and Jan de Rooden, Amsterdam.
1980 "Ceramics by Jan de Rooden", Gallery Terracotta, Groningen.

"New Forms", Ceramics by Jan de Rooden, Museum Het Princessehof, Leeuwarden.

"Margot Rolf Recent Weavings": "Starting from Four colours" / "New Forms", Ceramics by Jan de Rooden,
, Arnhem, 
1982 "Recent Ceramics", presentation Stedelijk Museum, Amsterdam.

Studio Exhibition, Amsterdam, together with Johnny Rolf.
1983 "Jan de Rooden - Recent Ceramic Sculptures", Gallery Fenna de Vries, Rotterdam.

"Ceramic Sculptures, Recent work by Jan de Rooden", Cultureel Centrum "de Vaart", Hilversum.
1984 "Jan de Rooden - Recent works", Gallery "De Witte Voet", Amsterdam.
1985 "Johnny Rolf and Jan de Rooden - Recent Ceramics", Singer Museum, Laren.
1988 First studio exhibition in the Coachhouse, Johnny Rolf and Jan de Rooden, Amsterdam.
1989 "Johnny Rolf, Gouaches - Jan de Rooden, Recent Ceramics", Gallery "Amphora", Oosterbeek.
1990 "Jan de Rooden - New Ceramics", Gallery Petit", Amsterdam.
1991 Retrosective exhibition:"Jan de Rooden Ceramic Artist" and "Johnny Rolf, Gouaches", Singer Museum, Laren.

Retospective exhibition:"Jan de Rooden Ceramic Artist" and "Johnny Rolf, Gouaches", Cultural Centre
"De Beyerd"
, Breda.
1993 Studio Exhibition, Johnny Rolf and Jan de Rooden, Amsterdam.
1995 "Ceramics by Adriana Baarspul and Jan de Rooden", Gallery "Amphora", Oosterbeek.

Studio Exhibition, Johnny Rolf and Jan de Rooden, Amsterdam.
1996 "Jan de Rooden - Contemporary Ceramics", Hetjens Museum, Düsseldorf, Germany.
1998 Studio Exhibition, Johnny Rolf and Jan de Rooden Amsterdam.
2000 "Jan de Rooden Ceramics & Chalk Drawings " / "Johnny Rolf Ceramics & Gouaches", Singer Museum, Laren.
2001 "Diphtong in Clay", Johnny Rolf and Jan de Rooden, Museum Schloss Rheydt, Mönchengladbach, Germany.
The catalogue text and photography by Dr Carsten Sernberg.

Studio Exhibition, Johnny Rolf and Jan de Roodden, Amsterdam.
2002 "Jan de Rooden Ceramics", Theme: "Cosmos", Gallery Carla Koch, Amsterdam. .
2003 "Jan de Rooden Ceramics & Chalk Drawings", St. Joseph Gallery, Leeuwarden.
2004 Studio Exhibition, Johnny Rolf and Jan de Rooden, Amsterdam.
2006 Final Studio Exhibition, Johnny Rolf and Jan de Rooden, Amsterdam.
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"Johnny Rolf and Jan de Rooden,  A Live Story in Ceramics 1957 - 2006", Gemeentemuseum den Haag, the Hague.
2015 Exhibition "Themes in Ceramics"; Keramisch Museum Goedewaagen - Nieuw Buinen