{"id":955,"date":"2020-11-01T10:21:13","date_gmt":"2020-11-01T09:21:13","guid":{"rendered":"http:\/\/galeriemauritsvandelaar.nl\/artist\/diederik-gerlach-2\/"},"modified":"2026-05-13T16:09:35","modified_gmt":"2026-05-13T14:09:35","slug":"diederik-gerlach","status":"publish","type":"dt_portfolio","link":"https:\/\/mauritsvandelaar.nl\/en\/artist\/diederik-gerlach\/","title":{"rendered":"Diederik Gerlach"},"content":{"rendered":"

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Diederik Gerlach<\/h1>\n

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\n\t\"Diederik<\/a>\t<\/figure>\n<\/article>\n\n<\/div>[\/vc_column][\/vc_row][vc_row type=”5″ animation=”fadeInUp” margin_top=”32″][vc_column][vc_tta_tabs color=”white” spacing=”” active_section=”1″ no_fill_content_area=”true”][vc_tta_section title=”Introduction” tab_id=”1440507584245-5ee45767-88dc10c9-8392″][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text]<\/p>\n

In his paintings, Diederik Gerlach<\/strong> (1956) frequently refers to the past, not only drawing from his archive of pictures from old travel magazines and advertising brochures, but also quoting from art history, in particular from German Romanticism. After a careful process of formation and deformation these images become transformed. The result is often an alpine world containing hidden layers and quotes. The space within the painting is frequently ambiguous, the image broken off at the edges or vertically divided into two parts, resembling an opened book.<\/p>\n

[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=””]Right in the middle of an image, Diederik Gerlach often places an ornamental or emblem like shape. A foreign body such as this sets the painting in motion, it charges up the seemingly familiar representation and gives it a new and broader meaning. Diederik Gerlach considers his work to be autobiographical in essence. However, his paintings are not reconstructions of his memories, but rather a sublimation of the past. He creates, as it were, a set of completely new memories that might be autobiographical.<\/p>\n

diederikgerlach.com<\/a>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”Biography” tab_id=”1440507584491-628a5fac-75f210c9-8392″][vc_column_text css=””]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
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Diederik Gerlach<\/h3>\n<\/td>\n<\/tr>\n

1956<\/td>\n<\/td>\nThe Hague, The Netherlands<\/td>\n<\/tr>\n
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education<\/h3>\n<\/td>\n<\/tr>\n

<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1977-1982<\/td>\n<\/td>\nKoninklijke Academie van Beeldende Kunsten (Royal Academy of Art), The Hague, NL<\/td>\n<\/tr>\n
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<\/td>\n<\/td>\nLives and works in The Hague and Berlin<\/td>\n<\/tr>\n
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solo exhibitions<\/h3>\n<\/td>\n<\/tr>\n

2022<\/td>\n<\/td>\nGl\u00fcck auf,\u00a0<\/em>guests: Arjen Duinker, Tobias Gerber, Galerie Maurits van de Laar, The Hague, NL<\/td>\n<\/tr>\n
2016<\/td>\n<\/td>\nAUSZEIT<\/em>, Galerie Maurits van de Laar, The Hague, NL<\/td>\n<\/tr>\n
2013<\/td>\n<\/td>\nDie Landschaft ist das Wichtigste<\/em>, Galerie Maurits van de Laar, The Hague, NL<\/td>\n<\/tr>\n
2011<\/td>\n<\/td>\nDie Zeit ist Jung<\/em>, Galerie Maurits van de Laar, The Hague, NL<\/td>\n<\/tr>\n
2008<\/td>\n<\/td>\nGalerie Maurits van de Laar, The Hague, NL<\/td>\n<\/tr>\n
2005<\/td>\n<\/td>\nD\u00e9sirs perdus, <\/em>Pulchri Studio, The Hague, NL<\/td>\n<\/tr>\n
2002<\/td>\n<\/td>\nBond van Nederlandse Architecten, Amsterdam, NL<\/td>\n<\/tr>\n
1999\/2001<\/td>\n<\/td>\nSuzanne Biederberg Gallery, Amsterdam, NL<\/td>\n<\/tr>\n
1998<\/td>\n<\/td>\nMinisterie van Buitenlandse Zaken, The Hague, NL<\/td>\n<\/tr>\n
1992\/94\/96\/98<\/td>\n<\/td>\nGalerie Maurits van de Laar, The Hague, NL<\/td>\n<\/tr>\n
1991<\/td>\n<\/td>\nSchilderijen 1987-1990, <\/em>LAK Galerie, Leiden, NL<\/td>\n<\/tr>\n
1990<\/td>\n<\/td>\nGalerie Tendres Stocks, Delft, NL<\/td>\n<\/tr>\n
1988<\/td>\n<\/td>\nGalerie Tendres Stocks, Delft, NL<\/td>\n<\/tr>\n
1987<\/td>\n<\/td>\nWir kommen alle in den Himmel<\/em>, HCAK, The Hague, NL<\/td>\n<\/tr>\n
1983<\/td>\n<\/td>\nHaags Centrum voor Aktuele Kunst (HCAK), The Hague, NL<\/td>\n<\/tr>\n
1977\/79<\/td>\n<\/td>\nLAK galerie, Academiegebouw, Leiden, NL<\/td>\n<\/tr>\n
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group exhibitions<\/h3>\n<\/td>\n<\/tr>\n

2024<\/td>\n<\/td>\nCROWD,\u00a0<\/em>Galerie Maurits van de Laar, The Hague, NL
\nStories \u2013 Images, <\/em>Museum Belvedere, Heerenveen, NL
\nAnya Belyat Giunta, Diederik Gerlach, Dan Zhu,<\/em> Galerie Maurits van de Laar, The Hague, NL<\/td>\n<\/tr>\n
2023<\/td>\n<\/td>\n…On Paper,\u00a0<\/em>Galerie Thomas Rehbein, Cologne, Germany<\/td>\n<\/tr>\n
2022<\/td>\n<\/td>\nArt On Paper Brussels<\/em>, Belgium
\nThe Next Stop, <\/em>Galerie 44, The Hague, NL\u00a0
\nD\u00e9part, <\/em>Galerie Maurits van de Laar, The Hague, NL<\/td>\n<\/tr>\n
2021<\/td>\n<\/td>\nEQUIPE 2 – <\/em>30 year anniversary Galerie Maurits van de Laar, The Hague, NL<\/td>\n<\/tr>\n
2020<\/td>\n<\/td>\nKunsthalle,<\/em> with Tobias Gerber, Galerie Maurits van de Laar, The Hague, NL<\/td>\n<\/tr>\n
2019<\/td>\n<\/td>\nCouples d\u2019 Artistes, <\/span><\/em>Galerie S. & H. De Buck , Gent, Belgium<\/td>\n<\/tr>\n
2018<\/td>\n<\/td>\nRistretto, <\/em>Galerie Maurits van de Laar, The Hague, NL
\nFarewell<\/em>, Galerie Nouvelles Images, The Hague, NL<\/td>\n<\/tr>\n
2016<\/td>\n<\/td>\nTrack & Trace I & II, 25 years Galerie Maurits van de Laar<\/em>, The Hague, NL<\/td>\n<\/tr>\n
2015<\/td>\n<\/td>\nNo Place Like Home, <\/em>SMAC, Berlin, Germany
\nSummerguests<\/em>, HKK, The Hague, NL<\/td>\n<\/tr>\n
2013<\/td>\n<\/td>\nArt The Hague, <\/em>Galerie Maurits van de Laar, The Hague, NL
\nHKK, The Hague, NL
\nDrawing Cabinet, <\/em>Galerie Maurits van de Laar, The Hague, NL<\/td>\n<\/tr>\n
2012<\/td>\n<\/td>\nHappy Days<\/em>, Gemeentemuseum, The Hague, NL<\/td>\n<\/tr>\n
2010<\/td>\n<\/td>\nFace to Face<\/em>, Galerie Maurits van de Laar, The Hague, NL<\/td>\n<\/tr>\n
2009<\/td>\n<\/td>\nArt Rotterdam, <\/em>Galerie Maurits van de Laar, Rotterdam, NL<\/td>\n<\/tr>\n
2007<\/td>\n<\/td>\nEilandenrijk<\/em>, Stroom Den Haag, The Hague, NL
\nPaulo Post Futurum, <\/em>Breda’s Museum, Breda, NL
\nVerborgen fotografie in beeld,<\/em> HKK, The Hague, NL<\/td>\n<\/tr>\n
2006<\/td>\n<\/td>\nDe grote huismustentooonstelling, <\/em>Natuurhistorisch Museum, Rotterdam, NL
\nHet Tekenen, <\/em>HKK, The Hague, NL
\n1st Shift, 15 jarig Jubileum, <\/em>Galerie Maurits van de Laar, The Hague, NL<\/td>\n<\/tr>\n
2005<\/td>\n<\/td>\nPass\u00e9(r) domestique?<\/em> M\u00fcllertentoonstellingen, The Hague, NL
\nGalerie Maurits van de Laar, (with Martin Assig), The Hague, NL
\nVers Bloed, <\/em>HKK, The Hague, NL<\/td>\n<\/tr>\n
2004<\/td>\n<\/td>\nNeoNatuur, <\/em>HKK, The Hague, NL
\nConnections, <\/em>Gezira Art Centre, Ca\u00efro, Egypt
\nFw: Painting<\/em>, De Werft, Geel, Belgium
\nKoppelingen, <\/em>(curator Jaap van den Ende), Galerie De Zaal, Delft, NL<\/td>\n<\/tr>\n
2003<\/td>\n<\/td>\nKunstRAI<\/em>, Galerie Maurits van de Laar, Amsterdam, NL<\/td>\n<\/tr>\n
2002<\/td>\n<\/td>\nLogos,<\/em> Lokaal 01, Breda, NL
\nGalerie Maurits van de Laar, (with Martin Assig), The Hague, NL
\nEen anatomische droom<\/em> , Stroom HCBK, The Hague, NL<\/td>\n<\/tr>\n
2001<\/td>\n<\/td>\nDe verzamelaar in het atelier, 2, 10 years<\/em> Galerie Maurits van de Laar, The Hague, NL<\/td>\n<\/tr>\n
2000<\/td>\n<\/td>\nIeder z’n voetbal<\/em>, Kunsthal, Rotterdam, NL
\nHarvest, Contemporary Art from the Netherlands<\/em>, Evora and Cascais, Portugal<\/td>\n<\/tr>\n
1999<\/td>\n<\/td>\nArt Athina<\/em>, Galerie Suzanne Biederberg, Athens, Greece
\nGalerie Maurits van de Laar, The Hague, NL<\/td>\n<\/tr>\n
1998<\/td>\n<\/td>\nHaagse Salon<\/em>, Atrium, The Hague, NL<\/td>\n<\/tr>\n
1997<\/td>\n<\/td>\nDen Haag Vandaag<\/em>, Jonge schilders uit de stadscollectie, Pulchri, The Hague, NL<\/td>\n<\/tr>\n
1996<\/td>\n<\/td>\nIn gesprek met Vermeer<\/em>, Galerie Lutz, Delft, NL
\nEquipe, <\/em>Galerie Maurits van de Laar, The Hague, NL<\/td>\n<\/tr>\n
1995<\/td>\n<\/td>\nGelijk Oversteken, <\/em>CBK, Rotterdam, NL
\n30-40 Beurs voor jonge kunst<\/em>, Galerie Maurits van de Laar, Knokke, Belgium<\/td>\n<\/tr>\n
1994<\/td>\n<\/td>\nArt and Image<\/em>, Galerie Maurits van de Laar, The Hague, NL<\/td>\n<\/tr>\n
1993<\/td>\n<\/td>\nKunstRAI<\/em>, Galerie Maurits van de Laar, Amsterdam, NL<\/td>\n<\/tr>\n
1992<\/td>\n<\/td>\n Met Haagse Ogen<\/em> – een keuze van Bert Jansen i.o.v. Stroom HCBK, Pulchri, The Hague, NL<\/td>\n<\/tr>\n
1991<\/td>\n<\/td>\nGalerie Maurits van de Laar, The Hague, NL<\/td>\n<\/tr>\n
1990<\/td>\n<\/td>\nAssociaties 2<\/em>, Haagse Kunstkring, The Hague, NL
\nDe Ruimte, <\/em>Galerie Liesbeth Lips, Amsterdam, NL<\/td>\n<\/tr>\n
1989<\/td>\n<\/td>\nVerzamelde Invallen en Indrukken<\/em> , De Waag, Leiden, NL<\/td>\n<\/tr>\n
1988<\/td>\n<\/td>\nSignature,<\/em> HCAK, The Hague, NL<\/td>\n<\/tr>\n
1987<\/td>\n<\/td>\nOp uitnodiging (By Invitation)<\/em>, Pulchri, The Hague, NL<\/td>\n<\/tr>\n
1986<\/td>\n<\/td>\nDrawings<\/em>, HCAK, The Hague, NL
\nKoninklijke Subsidie voor de Vrije Schilderkunst<\/em>, Paleis op de Dam, Amsterdam, NL<\/td>\n<\/tr>\n
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collections<\/h3>\n<\/td>\n<\/tr>\n

<\/td>\n<\/td>\nInstituut Collectie Nederland
\nHaags Gemeentemuseum
\nMinisterie van Buitenlandse Zaken
\nMinisterie van V.R.O.M.
\nTNO
\nGem. Havenbedrijf Rotterdam
\nArtotheken Den Haag, Rotterdam, Schiedam en Maastricht
\nParticulieren in binnen- en buitenland<\/td>\n<\/tr>\n
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bibliography<\/h3>\n<\/td>\n<\/tr>\n

2003<\/td>\n<\/td>\nVerbeelde Realiteit Wouter Welling Kunstbeeld nr.12 2002\/2003<\/td>\n<\/tr>\n
2002<\/td>\n<\/td>\nEen anatomische droom 24 Haagse schilderijen (1947-2002) Philip Peters, Stroom HCBK, Den Haag<\/td>\n<\/tr>\n
1999<\/td>\n<\/td>\nDiederik Gerlach Overzichtscatalogus 1996-1999, Egbert van Faassen.
\nHarvest: Contemporary Art from the Netherlands, catalogus Evora, Portugal<\/td>\n<\/tr>\n
1998<\/td>\n<\/td>\nZoektocht naar een andere werkelijkheid, Roos van Put, Haagse Crt. 29-04-\u201898<\/td>\n<\/tr>\n
1997<\/td>\n<\/td>\nIn gesprek met Vermeer, hedendaagse kunst in dialoog, cat. Stedelijk Museum Het Prinsenhof, Delft<\/td>\n<\/tr>\n
1994<\/td>\n<\/td>\n100 jonge Nederlandse schilders Living Art, Amsterdam
\nMalen, Onno Schilstra, Haagse Crt. 18-11-\u201894<\/td>\n<\/tr>\n
1993<\/td>\n<\/td>\nKunstaankopen 1992 cat, Rijksdienst Beeldende Kunst, Den Haag
\nMenagerie, Cees van der Geer, Haagse Crt. 26-11-\u201893<\/td>\n<\/tr>\n
1992<\/td>\n<\/td>\nVariaties, Cees van der Geer, Haagse Crt. 30-10-\u201892<\/td>\n<\/tr>\n
1988<\/td>\n<\/td>\nSignatuur – 36 standpunten in de Nederlandse schilderkunst; Diederik Gerlach Philip Peters, HCAK bulletin 15-2<\/td>\n<\/tr>\n
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[vc_row][vc_column][vc_column_text] Diederik Gerlach [\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][\/vc_column][\/vc_row][vc_row type=”5″ animation=”fadeInUp” margin_top=”32″][vc_column][vc_tta_tabs color=”white” spacing=”” active_section=”1″ no_fill_content_area=”true”][vc_tta_section title=”Introduction” tab_id=”1440507584245-5ee45767-88dc10c9-8392″][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text] In his paintings, Diederik Gerlach (1956) frequently refers to the past, not only drawing from his archive of pictures from old travel magazines and advertising brochures, but also quoting from art history, in particular from German Romanticism. After a careful process…<\/p>\n","protected":false},"author":1,"featured_media":25301,"comment_status":"closed","ping_status":"closed","template":"","dt_portfolio_category":[174],"dt_portfolio_tags":[1397],"class_list":["post-955","dt_portfolio","type-dt_portfolio","status-publish","has-post-thumbnail","hentry","dt_portfolio_category-artist-en","dt_portfolio_tags-diederik-gerlach","dt_portfolio_category-174","description-off"],"yoast_head":"\nDiederik Gerlach - mauritsvandelaar<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/mauritsvandelaar.nl\/en\/artist\/diederik-gerlach\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Diederik Gerlach - mauritsvandelaar\" \/>\n<meta property=\"og:description\" content=\"[vc_row][vc_column][vc_column_text] Diederik Gerlach [\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][\/vc_column][\/vc_row][vc_row type=”5″ animation=”fadeInUp” margin_top=”32″][vc_column][vc_tta_tabs color=”white” spacing=”” active_section=”1″ no_fill_content_area=”true”][vc_tta_section title=”Introduction” tab_id=”1440507584245-5ee45767-88dc10c9-8392″][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text] In his paintings, Diederik Gerlach (1956) frequently refers to the past, not only drawing from his archive of pictures from old travel magazines and advertising brochures, but also quoting from art history, in particular from German Romanticism. 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