Art and design historian with experience in curating, project coordination, research, writing and editing for (a.o.) Museum Boijmans Van Beuningen, Dutch Design Yearbook, and designgeschiedenis.nl. I currently work as a coordinator and tutor at the BA Interior Architecture & Furniture Design of the Royal Academy of Art (KABK) The Hague and work part-time on my PhD research on Dutch modern art exhibitions, commissioned by (predecessors of) the Ministry of Education, Culture and Science, that were sent abroad between 1945-1973. In my research, I integrate a sociology of art approach and focus on exhibition history, transnational art history and cultural diplomacy.
R. Hompe and A. Smits (2015), 'Please write!' Paul Thek and Franz Deckwitz: An Artists' Friendship
Rotterdam: Museum Boijmans Van Beuningen
R. Hompe (2014), 'Design Column' and 'Seven Deadly Sins', articles in the Dutch Design Yearbook 2014, Rotterdam: nai 010 publishers
R. Hompe (2011), ‘Een heel veld witgeschilderde tulpen. Exposities en het designdiscours in de Jaren tachtig’, for the website www.designhistory.nl
International networks in the art world
National identity and representation
2012 – present Royal Academy of Art The Hague (KABK), coordinator and tutor at the BA Interior Architecture & Furniture Design
2009 – 2015 Museum Boijmans Van Beuningen, various positions: junior curator, project leader, publishing and education assistant.
2017 – present PhD candidate LUCAS
Dutch international cultural policy in the bud: the international exhibitions of the Ministry of Education, Culture and Science 1945-1973 [working title]
Supervisors: Kitty Zijlmans and Jan Teeuwisse
2008 – 2010 MA Museumconservator (Universiteit van Amsterdam)
Tweejarige duale master met een praktijkjaar in Museum Boijmans Van Beuningen.
Title MA thesis: Een nieuw concept? Visies, forums en definities over vormgeving en ontwerpen, rond twee reizende tentoonstellingen.
Supervisor: Debora Meijers
2007 – 2009 MA Dutch Art in European Context (Universiteit van Amsterdam)
Title MA thesis: The Cleric, the Spiritual and Art. Modern art and esotericism in the collection of H. Van Assendelft.
Supervisors: Arnold Witte and Marco Pasi
2004 – 2007 BA Liberal Arts and Sciences (University College, Universiteit Utrecht)
Description of my research
After WW II the Dutch government became involved with and initiated several international exhibitions of modern and contemporary Dutch art. These included the Dutch entries to the Venice and São Paulo biennales, but also exhibitions of applied arts and survey exhibitions of Dutch modern art that for instance were sent out to Athens, Paris and Zagreb. Setting out from the perspective of Greet Sickinghe-ten Holte, who from 1945-1973 was responsible for the organisation of these exhibitions, I question what this Dutch international cultural policy avant la lettre entailed.
From a contemporary perspective, the first Dutch entries to international visual art exhibitions may seem somewhat unorganized and unprofessional, but from the very beginning the idealism and ambitions were great. It was here that the post-war Dutch art field was shaped and here also the foundations were laid for the current Dutch international cultural policy (a concept that was only used by the government from the 1970s onwards to name international cultural relations).
What were the ambitions of the various parties involved (ministers, officials such as Greet ten Holte, artists, mediators) and to what extent were these ambitions realized? Did the ideological principles of these parties differ? How was 'international cultural policy' designed between 1945 and 1974? And how did these exhibitions that were sent abroad compare to the modern and contemporary art scene at home? These are a few questions that I examine on the basis of the archive of Greet ten Holte.