Art route by bike in Haren and surroundings.

You are here on the border of the former municipalities of Groningen and Haren. The open space in the image offers a view in a westerly direction over the sloping Hondsrug.

A prize-winning work of art here on the Raadhuisplein: in 2021 John Gardella's De Bron won the Kunst op Straatprijs with 21 percent of the votes. The work consists of an oval water source from which a wave spirals upwards in one flowing movement and ends in a fusion with human figures. The water follows the dynamics of the wave and makes its own dance.

Fire Under the World is a tribute to the poet and artist Hendrik de Vries, who was born in the city of Groningen in 1896 and settled in Haren in 1946 with his wife, in a house she called 't Woeste Hoekje. The title of the sculpture refers to a poem in which De Vries writes: "Whoever wants to start a fire only has to dig: Under the world fire always smolders". The fire is visible in the marble and freestone. Three graceful tentacles rise from one of the statues; they indicate the versatility of Hendrik de Vries. The other sculpture has a spiral placed as a sign of inner peace.

Are you curious about the house where Hendrik de Vries and his wife lived? You will find it at Onnerweg 87, which is located between numbers 14 and 15 on this art route. On the facade of the house you can still read ''t Woeste Hoekje' in white letters.

This nearly three meters high sculpture at the police station in Haren exudes steadfastness, both in its robust appearance and in the use of granite and stainless steel. It thus symbolizes the task of the police to ensure the maintenance of the rule of law and to provide assistance to those who need it. In the work of Ko Vester, as an artist a true autodidact, the contrast between the various materials always plays a major role.

Wat het kortste Nederlandse gedicht is? U, Nu! van Joost van den Vondel. Ter gelegenheid van de herinrichting van de Vondelstraat werd het aangebracht in de klinkerbestrating. Het hele gedicht bestaat daadwerkelijk uit deze drie letters. Het is een zogenoemd palindroom: een tekst die je van links naar rechts en andersom kunt lezen, zonder dat de betekenis verandert. Met dit gedicht, volgens het Guinness Book of Records officieel het kortste gedicht, won Joost van den Vondel (1587-1679) in 1620 een dichtwedstrijd.

The Poort voor Haren is located at the entrance to the A28 at Het Transferium. In this dynamic environment in which the hectic pace of commuter traffic is dominant, the meter-high image is as unobtrusive as it is unyielding. Like a benchmark in space. In the artwork, the brass and granite shapes slide into each other, leaving room for openings. This transparency creates vistas that change depending on the direction from which the passing motorist comes. Moving, connecting and marking are important themes in Herman Bartelds' work.

1.104 / 5.000
Vertaalresultaten
The walls of the bicycle and pedestrian tunnel under the A28 near Haren and the walls of the nearby bus shelter along the A28 are fully equipped with street art. A large number of images have been applied to the green painted north wall of the tunnel. You can see mussel-shaped eyes, variations on color circles and black silhouettes of animals and plants. Series of arrows, stripes and beams have been applied to the blue background of the south wall, to which black silhouettes of skating youths and various skylines of Haren and Groningen have been added.

The graffiti artists Michel Velt, Roman de Laporte (alias Jack Lack), Quinten van Duuren, Elroy Gramsbergen and Alex Tjoelker were inspired for the design by the green character of Haren on one side of the tunnel, and the Paterswoldse lake on the other. other side.

Two larger images adorn the entrances to the tunnel at the staircase. At the entrance to the shelter a scooter with a cat (by Jack Lack), at the entrance of the stairs to the P&R a large portrait of a young woman (by Michel Velt)

In the park at the entrance of the Maarwold service flat, three stone figures sit in a circle, clearly in a harmonious connection. The harmony that is depicted is a very specific one: the image symbolizes the mutual cooperation between management, management and staff of the former Parley wool spinning mill Textielfabriek of N.V. Johan Parmentier in Dokkum.

The statue was a gift from sixteen companies that collaborated in 1963 on the new construction of the factory in Dokkum. It was originally located in Leiden, but a lack of expansion opportunities there and attractive location conditions in the north made Parmentier decide to move the factory to the Frisian town. For a long time, about 200 people were employed here, until the Dutch textile industry came to a standstill and Parmentier had to close its doors in 1981.

Johan Parmentier and his wife Tini Parmentier-Niemeijer then moved to Haren, where the statue was placed in their garden. When they moved to service flat Maarwold in 2000, the seated figures moved with them. Today the statue is owned by Maarwold.

A more than ten meters high blue steel tree – an abstracted representation of a water cypress – and a hornbeam enter into a relationship; in the summer the blue steel and the living wood shroud themselves in green foliage, only to take a 'bare' distance from each other in the winter months. The choice for the representation of a water cypress was prompted by the presence of one such tree on the southern verge of Emmalaan. Artist Willem van der Schalie chose to reproduce this only so-called pine tree in a deciduous tree on the north side of Emmalaan.

An abstracted human figure raises its arms in the air cheering. On the side of the statue are the words: '14 April 1945-1995 50 years liberated May 5 committee'. The artwork is anchored in the ground on a concrete base and the galvanized steel T-profile connects the two wooden halves.

In 1995 it was fifty years ago that our country was liberated from German rule. In this context, Johanna Nijlunsing was commissioned by the 5 May Committee to produce the Juichende mens. Originally, the Oranje-Lippe monument, which was built in honor of the wedding of Princess Juliana and Prince Bernard on January 7, 1937, stood on the site where the Juichende mens now stands. This monument was destroyed by pro-Germans during the war. After the war, a liberation tree was planted here, which still occupies a central place in the park.

Would you rather go for a shorter cycling trip? Then take the royal route here, and go via Wilhelminalaan, Emmalaan, Julianapark, Julianalaan and Terborgsteeg to number 16 on this art cycle route: mural BAM by Jan van der Zee.

On the terrace of the Sassenhein pavilion is a concrete statue of a male who looks out from a high artificial granite pedestal over the wetland nature reserve Sassenhein. The statue represents Hein Aalderink (1853-1939). Aalderink and his wife Saskia bought the former peat extraction area with so-called peat holes (peenplassen) in 1909 and made a case for using it for fishing. In order to be able to fish for carp here in a responsible manner, the Hengelclub Groningen was founded in 1909, nowadays called HC Sassenhein. In their will, the couple, whose names have been immortalized in the name of the nature reserve (Sas-en-Hein), stipulated that this area would remain as it was: an inviting nature, fishing and recreation area.

The driveway to the Oeckelenhof house is marked by a brick wall with the name of the house and a brick statue of Don Quixote sitting on his horse. The sculpture and wall are by Egbert Reitsma (1892-1976), who was also the resident of the Oeckelenhof. Reitsma was a Dutch architect known for his brick architecture. He is also known as a master of bricks. He was also a member of the art circle De Ploeg.

It is unclear why Reitsma chose Cervantes' novel character Don Quixote. The sculpture dates from 1959. Three years earlier, Reitsma had renamed his house, which was originally called Heemstede, the Oeckelenhof, a reference to the first owner/resident Cornelis van Oeckelen (1829-1905), who gained fame as an organ builder.

The low fence that separates the former primary school De Rieshoek from the main road has been transformed by artist Wia van Dijk into an artistic and cheerful abacus. This immediately explains the title; Abacus is the Latin word for abacus. There are colorful benches both inside and outside the fence and the owl on one of those benches is a nod to the driver's wisdom.

The stone-carved calf in the primary school square has the attitude of a newborn calf trying to get up. Usually, a just-born calf stands on its own feet within an hour of birth and takes its first steps. The image refers to the moment when a four-year-old toddler goes to school for the first time.

Sculptor Annemiek Bennink made Kalfje on behalf of the board of the then nursery school Het Hovenhoekje. In 1986 the statue was given a place at the annex for the pre-schoolers of the public primary school De Rieshoek (with which the Hovenhoekje had meanwhile merged). In 1992 it was relocated from kindergarten to primary school across the road.

Encounter is the appropriate name for the sculpture that stands at the De Tiehof village hall in Onnen. The tie was traditionally the place in a village in Drenthe where people gathered to exchange the news of the day or to meet on matters of general interest. The two abstracted figures refer to this; in their (hand) gestures they express an encounter.

The visual work of Herman Bartelds (Haren, 1956) has four main themes: marking, carrying, connecting and moving. Bartelds combines hard stone with brass in many of his sculptures. From the contrasting materials he creates a sculptural unity that reflects a wide spectrum of meanings; from benchmarks in space to interpersonal relationships.

Continue back to Haren via Dorpsweg and Felland. When you cross the railway you cycle onto the Onnerweg: here you will find quite easily on your left, at number 87, ''t Woeste Hoekje', the former home of Hendrik de Vries and his wife (see also number 3 on this route).

In its free play with shapes and colors, the monumental brick relief of 7 by 18 meters on the west facade of sports hall De Bam fits in with the function and name of the building: bam in Drenthe is the name for a place where you are free in the game.

Jan van der Zee (1898-1988) made a design drawing of the abstract brick relief for the masons. In this he indicated the colour, shape, direction and the masonry bond; the joints were given the color of the stone. The stones are red, black and purple in color and vary in type of material, structure and thickness. The coarse, slightly shiny black bricks are the thickest and protrude above the red, which in turn are slightly thicker than the purple smooth bricks.

The statue HRH Princess Juliana was presented to the commoners of Haren in 1936 by the General Orange Association Oranje Nassau on the occasion of the engagement of Princess Juliana and Prince Bernhard. At the time, it was commissioned in six copies by Gerrit Jan van der Veen (1902-1944), a sculptor, mechanic and resistance fighter, commissioned by De Kunst magazine.

One copy was given a place near the park on the Oude Hoflaan in Haren. In 1942 the base of the sculpture was destroyed by pro-Germans. Shortly before that, Orangists had managed to bring the statue to safety themselves. The five other copies were placed in The Hague, Amsterdam, Leiden, Utrecht and the city of Groningen.

After the liberation, the Haren specimen was placed in various places in the village, only to be placed again in 1999 in its original location, here on the Oude Hoflaan near the park, after much wandering.

Lost in thought, oblivious to the glances that passers-by are casting at her, the naked girl wraps the cloth around her head. She is pure and vulnerable, yet sensual and confident at the same time.

The bronze statue was purchased in 1985 by the then municipality of Haren, which placed the almost 1 meter high sculpture next to the Dorpskerk. Because it was no longer there from a spatial point of view, it was moved in 1989 to the small park near the church.

In the Balancing Figure, artist Jan Steen expresses both the fragility of existence and the (spiritual) resilience of man.

In Iron Plastic, continuous lines and right angles form the organizing principle. In this interplay, closed surfaces are created in the primary colors red, yellow, blue, black and white, and open surfaces that enter into a relationship with the environment. Harmony and clarity are two important basic themes in Siep van den Berg's work.