{"id":35465,"date":"2025-12-02T13:08:42","date_gmt":"2025-12-02T12:08:42","guid":{"rendered":"https:\/\/kingstreet-magazine.com\/?p=35465"},"modified":"2026-01-13T20:24:09","modified_gmt":"2026-01-13T19:24:09","slug":"the-hague-gallery-broke-open-the-art-world","status":"publish","type":"post","link":"https:\/\/kingstreet-magazine.com\/en\/de-galerie-den-haag-brak-de-kunstwereld-open\/","title":{"rendered":"De Galerie Den Haag breaking barriers in art"},"content":{"rendered":"

An interview with Van den Oever about the gallery quickly becomes a conversation about his life. On a screen in the gallery, a video loop plays over thirty years of memories: old posters, flyers, and street signs, but also photographs\u2014from the famous Noordeinde Nocturne he initiated, to Paris Photo where he is a familiar face, to Sinterklaas visiting the gallery, Queen Beatrix at a Jan Montyn exhibition, and chef Cas Spijkers cooking with art.<\/p>\n

\u201cWhen I put together this collage for our anniversary weekend, I thought: wow, that\u2019s a lot,\u201d says the nearly 67-year-old entrepreneur, sitting at the large table in his high-end gallery Project 2.0,<\/a>just a door away. His curls may no longer be as red as in many of the snapshots, but the fire for art still burns in his eyes. \u201cStill, I wanted to look back\u2014against my usual habit\u2014because without all these people and moments, we wouldn\u2019t be where we are today.\u201d<\/p>\n

\"A

Galerie Den Haag\u2019s serene autumn 2025 photo series \u2018At the Onsen\u2019 by Soo Burnell, celebrating Japan\u2019s centuries-old bathing culture.<\/p><\/div>\n

One key figure in this history is Clemens Briels. \u201cHe was emerging in the US when he was chosen as an Olympic artist for the 2002 Salt Lake City Games,\u201d Van den Oever recalls. \u201cHis painting \u2018Jump for Joy\u2019 became the campaign image. I sent it to the news agency with the headline: \u2018First gold for the Netherlands already secured.\u2019 We made all the front pages, and before the exhibition even opened, all the work had sold out. Clemens went on to create dozens more prints and commissioned pieces\u2014we made a million guilders from it.\u201d<\/p>\n

Transition<\/h2>\n

Instead of buying a flashy new car, Van den Oever focused on building a solid foundation for his gallery, including De Kunstuitleen. \u201cThe return on investment for the lending service is long, so it only paid off after twelve years,\u201d he explains. \u201cAnd that was exactly during the financial crisis, when people bought less and rented more. That\u2019s how we survived. Also, unlike many galleries that vanished, we embraced the shift to digital art and welcomed a new generation of buyers. We were online from the very start.\u201d<\/p>\n

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His path was preceded by a stormy past. \u201cBefore I turned thirty, I went bankrupt with the sports shops I owned. I learned not to grow too big,\u201d Van den Oever summarises. \u201cI worked hard to get back on my feet, gave tennis lessons again, and later worked in the framing workshop of my ex-partner, with whom I had my daughter Eva. I started on my own by producing screen prints in collaboration with Chiefs & Spirits and Livingstone Gallery, who were also just starting out. Everything was new to me, except my love for art; I sold my first work at twelve.\u201d<\/p>\n

\"Wave

\u2018Wave, intense blue touch of gold\u2019 by visual artist Ans Pullens.<\/p><\/div>\n

Nocturne<\/h2>\n

At its peak, the Noordeinde housed around fifteen galleries, making it the Netherlands\u2019 premier art street. From this, the idea for the Noordeinde Nocturne emerged. \u201cI suggested we each skip a fair and pool the money to create a big event with music, an orange carpet, and outdoor sculptures. We invited all our clients that weekend and maximised the impact.\u201d A bold move. \u201cThe art world is very closed and conservative. I\u2019ve always tried to break it open, which allowed me to organise eighteen editions of the Nocturne.\u201d<\/p>\n

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With retirement on the horizon, Van den Oever is slowly stepping back. \u201cEva handles day-to-day operations, and together with the team\u2014like Wouter, who\u2019s been with us 22 years, and Larissa, who shares my perspective\u2014they curate alongside her,\u201d he explains. \u201cWe sometimes have heated artistic discussions, but for me, it\u2019s important to let go. I\u2019m not a real manager; I\u2019ve just shown how it can be done. In art, staying true to yourself is crucial. That way, you build a group of clients who understand your taste and choices.\u201d<\/p>\n

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<\/td>\nAlso read:<\/b><\/i>
\n
\nA bit topsy-turvy at De Plesman<\/a><\/td>\n<\/tr>\n<\/tbody>\n<\/table><\/div>\n\t<\/div>\n<\/div>\n<\/div>\n<\/div>\n\t<\/div>\n\t\t<\/div>\n\t<\/div>\n<\/div>\n<\/div>\n

Discovery<\/h2>\n

One of his recent discoveries is textile artist Laura Maria Hamstra. \u201cShe came to us while I was working at De Galerie and Kunstuitleen in Rotterdam. She had worked as a couturier for Jan Taminiau and creates paintings in fabric. I hesitated at first, but once I saw her work, I knew it was exactly right for the times\u2014if I get greedy, that\u2019s a good sign. I was right; her work now flies out of the gallery.\u201d<\/p>\n

\"Laura

Textile artist Laura Maria Hamstra, a recent discovery Van den Oever is proud of.<\/p><\/div>\n

Van den Oever is used to thinking two to three years ahead. \u201cI continue to provide support whenever I\u2019m asked\u2014and thankfully, that happens a lot\u2014but what I enjoy most is mentoring artists. You need to challenge them to innovate while keeping them grounded. Each artist has their own guide, and that\u2019s where I want to focus more, because that\u2019s the essence of being a gallery owner.\u201d<\/p>\n

www.degaleriedenhaag.nl<\/a><\/p>","protected":false},"excerpt":{"rendered":"

An interview with Coen van den Oever on The Hague Gallery is actually a conversation about his life. On a screen in the gallery, he shows a video loop with images from the past 30 years. We see old posters, maps and pavement signs. But also photographs. Of the famous Noordeinde Nocturne he initiated, of...<\/p>","protected":false},"author":4,"featured_media":35469,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[148],"tags":[3155,2381,1025],"opmaak":[2548],"acf":[],"yoast_head":"\nKingstreet - De Galerie Den Haag brak de kunstwereld open<\/title>\n<meta name=\"description\" content=\"Dertig jaar De Galerie Den Haag: Coen van den Oever over groei, vernieuwen en hoe hij de kunstwereld openbrak.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/kingstreet-magazine.com\/en\/the-hague-gallery-broke-open-the-art-world\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"De Galerie Den Haag brak de kunstwereld open\" \/>\n<meta property=\"og:description\" content=\"Dertig jaar De Galerie Den Haag: Coen van den Oever over groei, vernieuwen en hoe hij de kunstwereld openbrak.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/kingstreet-magazine.com\/en\/the-hague-gallery-broke-open-the-art-world\/\" \/>\n<meta property=\"og:site_name\" content=\"Kingstreet\" \/>\n<meta property=\"article:published_time\" content=\"2025-12-02T12:08:42+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2026-01-13T19:24:09+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/kingstreet-magazine.com\/wp-content\/uploads\/spaansche-hof-1-4.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1170\" \/>\n\t<meta property=\"og:image:height\" content=\"780\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Renske\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:description\" content=\"Dertig jaar De Galerie Den Haag: Coen van den Oever over groei, vernieuwen en hoe hij de kunstwereld openbrak.\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Renske\" \/>\n\t<meta name=\"twitter:label2\" content=\"Estimated reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"6 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/kingstreet-magazine.com\/de-galerie-den-haag-brak-de-kunstwereld-open\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/kingstreet-magazine.com\/de-galerie-den-haag-brak-de-kunstwereld-open\/\"},\"author\":{\"name\":\"Renske\",\"@id\":\"https:\/\/kingstreet-magazine.com\/#\/schema\/person\/9a88b23362fe7a40e6fd733b898128a0\"},\"headline\":\"De Galerie Den Haag brak de kunstwereld open\",\"datePublished\":\"2025-12-02T12:08:42+00:00\",\"dateModified\":\"2026-01-13T19:24:09+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/kingstreet-magazine.com\/de-galerie-den-haag-brak-de-kunstwereld-open\/\"},\"wordCount\":1044,\"publisher\":{\"@id\":\"https:\/\/kingstreet-magazine.com\/#organization\"},\"keywords\":[\"de galerie den haag\",\"noordeinde\",\"Project 2.0\"],\"articleSection\":[\"Kunst & Cultuur\"],\"inLanguage\":\"en-GB\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/kingstreet-magazine.com\/de-galerie-den-haag-brak-de-kunstwereld-open\/\",\"url\":\"https:\/\/kingstreet-magazine.com\/de-galerie-den-haag-brak-de-kunstwereld-open\/\",\"name\":\"Kingstreet - 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