This abstract white marble sculpture has a base of black concrete. The white marble is partly polished, partly chiselled. Sculptor Piet van Stuivenberg signed the statue with: Piet '65. This work of art originally stood in an elegant spot on Zeeltplein/Meeuwenplaat in a piece of green with a flower bed. The square was completely redeveloped and the greenery made way for new construction. The owner of the Flamingo party center at the time noted that the work of art was not put back, because he often cleaned the work of art on Zeeltplein. His question whether the artwork could therefore be placed with his new Flamingo was honored. Thus, the abstract white work was located at Lengweg 150 near the party center. But the new owner of the Flamingo no longer wanted the statue for his entrance and in 2020, at his request, the statue was removed and placed in storage. BKOR was looking for a new location for the work and found it in the grass at the beginning of the Hoogvlietsedijk. When exiting the Hoogvliet metro station, the white image is immediately visible and shows the way. In December 2022, the statue was relocated in the park.
Piet van Stuivenberg (Schiedam, 1901 - 1988) has made a number of sculptures for the public space of Rotterdam and Schiedam as a stonemason, such as Dolle Jans Dream (a monument to Herman Heijermans) and a sculpture at the former Bouwcentrum. He attended evening classes at the Rotterdam Academy from 1921 to 1927 and made study trips to Brussels, London and Paris. Artworks by Van Stuivenberg are in the collection of the Stedelijk Museum Amsterdam, Museum Boijmans Van Beuningen, the Stedelijk Museum in Schiedam and in private collections. Van Stuivenberg started his career as a stonemason boy. As a sculptor he was initially influenced by expressionism, later he made geometric and sleek shapes, which increasingly tended to abstraction.
Kouwenaardseweg 51 3191 TN Hoogvliet Rotterdam
View on the map
Location
In the grass
Description
Abstract plastic on a concrete plinth
Materials
White marble
Dimensions
90 x 90 x 170 cm
Year
1965
Client
Municipality of Rotterdam
Recruitment
BK advice: Rotterdam Urban Embellishment Committee
Money source
Urban beautification fund
Owner
Municipality of Rotterdam
About the artwork
This abstract white marble sculpture has a base of black concrete. The white marble is partly polished, partly chiselled. Sculptor Piet van Stuivenberg signed the statue with: Piet '65. This work of art originally stood in an elegant spot on Zeeltplein/Meeuwenplaat in a piece of green with a flower bed. The square was completely redeveloped and the greenery made way for new construction. The owner of the Flamingo party center at the time noted that the work of art was not put back, because he often cleaned the work of art on Zeeltplein. His question whether the artwork could therefore be placed with his new Flamingo was honored. Thus, the abstract white work was located at Lengweg 150 near the party center. But the new owner of the Flamingo no longer wanted the statue for his entrance and in 2020, at his request, the statue was removed and placed in storage. BKOR was looking for a new location for the work and found it in the grass at the beginning of the Hoogvlietsedijk. When exiting the Hoogvliet metro station, the white image is immediately visible and shows the way. In December 2022, the statue was relocated in the park.
Piet van Stuivenberg (Schiedam, 1901 - 1988) has made a number of sculptures for the public space of Rotterdam and Schiedam as a stonemason, such as Dolle Jans Dream (a monument to Herman Heijermans) and a sculpture at the former Bouwcentrum. He attended evening classes at the Rotterdam Academy from 1921 to 1927 and made study trips to Brussels, London and Paris. Artworks by Van Stuivenberg are in the collection of the Stedelijk Museum Amsterdam, Museum Boijmans Van Beuningen, the Stedelijk Museum in Schiedam and in private collections. Van Stuivenberg started his career as a stonemason boy. As a sculptor he was initially influenced by expressionism, later he made geometric and sleek shapes, which increasingly tended to abstraction.
