Jan de Rooden
|Pot "En route" 1991, H. 31cm. Priv. col.|
|1931||Born August 31st as second son, at Groesbeeksedwarsweg in Nijmegen, the Netherlands.|
|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
|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
to become a potter.
|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.
|Six books have been essential for our craft training.
1957 - "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
|1960||The Interest-free loan that we
received from the Stedelijk Museum,
Amsterdam, at the initiative of Paula
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.
|1968||Dutch Ministry of Culture Travel
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
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.
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
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.
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,
Mr. and Mrs.de Vries - van der Hoeven , Wil and
Leentje, gave us a surprisingly warm welcome.
Mr. de Vries, just recently appointed Head of the
Dutch Embassy in Korea, during his courtesy call to the
Soon after our arrival we visited Hongik University
accompanied by Mrs. Leentje de Vries. Her command of the
So it happened that one week later we stood before
hundreds of students in a packed auditorium to enjoy
Meanwhile we had visited Prof. Ron duBois
in Daegue. In 1969 we met in
Stillwater, Oklahoma, where he had invited us
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,
Too soon it was time to say goodbye to our host and
hostess, of whom we had grown very fond.
²) Kimchi, pickled cabbage with peppers
and other spices, the staple food during the long, harsh
|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.
"Prins Bernhard Fonds" grants me a subsidy for the publication of a monograph on my work and my ceramic activities
|1962||"Six Amsterdam Potters",
together with Hans de Jong, Sonja
Landweer, Johan van Loon,
Johnny Rolf and Jan van der
Museum Boijmans van Beuningen, Rotterdam.
|1963||"Dutch Potters Now",
Gemeentemuseum, den Haag.
"1ra Exposición Contemporánea", Mar de Plata, Argentina.
"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,
"New Ceramic Forms", Stedelijk Museum, Amsterdam.
|1966||"XXIV Concorso Internazionale della
Ceramica d'Arte", Faenza, Italy
|1967||"New Ceramic Forms from the
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,
|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,
"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
Musée des Arts Décoratifs de la ville de
Lausanne, Lausanne, Switzerland
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
Studium Generale, Christelijke Academie voor
Beeldend Kunstonderwijs, Kampen
|1985||"Encounters, European Ceramics",
Museum Stadt Bad Hersfeld, Bad
|1986||"1st Authorized Ceramics Design
Invitational Exhibition", Tajimi City,
|1987||"Pioneers of Applied Art",
|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,
"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,
Karsh-Masson Gallery, Ottawa, Canada and American Craft Museum, New York, USA
|1996||"Facets of the same Nature",
Gemeentemuseum, Commanderie van Sint Jan,
|1997||"Ceramics of the 20th Century",
Gallery Welle, Paderborn,
|1999||"Ceramics from Kösters Gallery",
Städtisches Museum Schloss Rheydt,
"Millennium Exhibition", Stedelijk Museum, Amsterdam
|2000||"The Six Amsterdam Potters together
again", Gallery "Amphora",
Oosterbeek, together with Hans de Jong, Sonja
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|
|Ausstellung "Gefäss / Skulptur 2";
Deutsche und internationale
Keramik seit 1946; GRASSI Museum, Leipzig,
17. november 2013 - 23 mart 2014
|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",
|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.
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,
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,
|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,
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,
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,
|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,
"Ceramic Sculptures, Recent work by Jan de Rooden", Cultureel Centrum "de Vaart", Hilversum.
|1984||"Jan de Rooden - Recent works",
Gallery "De Witte Voet",
|1985||"Johnny Rolf and Jan de Rooden -
Recent Ceramics", Singer
|1988||First studio exhibition in the Coachhouse,
Johnny Rolf and Jan de Rooden, Amsterdam.
|1989||"Johnny Rolf, Gouaches - Jan de
Rooden, Recent Ceramics", Gallery
|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
Studio Exhibition, Johnny Rolf and Jan de Rooden, Amsterdam.
|1996||"Jan de Rooden - Contemporary
Ceramics", Hetjens Museum,
|1998||Studio Exhibition, Johnny Rolf and Jan de
|2000||"Jan de Rooden Ceramics & Chalk
Drawings " / "Johnny
Rolf Ceramics & Gouaches", Singer
|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:
Carla Koch, Amsterdam. .
|2003||"Jan de Rooden Ceramics & Chalk
Drawings", St. Joseph
|2004||Studio Exhibition, Johnny Rolf and Jan de
|2006||Final Studio Exhibition, Johnny Rolf and Jan de Rooden, Amsterdam.|
|"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|