Hermitage Amsterdam / H'ART Museum

Andrei Petrescu★★★★★★★★★★5.03 months ago

I visited this museum over the weekend and had a very positive experience. The museum is well organized, the staff answered my questions, and the exhibition on display was very good. I went specifically to see Louis Wain’s cat illustrations and also enjoyed the church hall and its views over the Amsterdam canals. I used my Museumkaart, without it, I would personally find the ticket price quite expensive. Otherwise, highly recommended.

Emma Woodcock★★★★★★★★★★5.04 months ago

I was passing by the H’ART Museum and popped in out of curiosity. From the name, I initially assumed it might be something like a museum of the mind — perhaps focused on perception, illusion, or psychology. What I discovered was something far more intellectually rigorous and thoughtfully framed. The museum opens up our understanding of how artworks are produced, particularly by artists living with mental health or psychological conditions. Rather than framing these works through limitation or diagnosis, the exhibitions invited a deeper, more humane engagement with creativity as a form of perception, structure, and expression. The exhibitions explored themes including relationships between humans and animals, alongside a photographic body of work by Jan Dibbets, examining landscapes through linear form and measured angles. That work resonated strongly with me, echoing my own earlier years working with panoramic location photography, where alignment, rhythm, and spatial logic quietly shape meaning. The building itself is vast and impressive, and it houses a beautiful café with genuinely warm, welcoming staff. I left feeling curious and keen to return — not just to revisit the exhibitions, but to better understand the wider ethos of the museum.

Mo alzorqa (Mr. MO)★★★★★★★★★★4.05 months ago

My visit to the HART Museum was a truly enjoyable and inspiring experience The museum offers a wonderful variety of exhibitions that beautifully combine classical and contemporary art in a thoughtful and engaging way The artworks are well presented and clearly organized making the experience enjoyable even for those who are not art experts The atmosphere of the museum is calm and welcoming allowing visitors to fully appreciate each piece The spacious layout and elegant design add to the overall experience One of the highlights is the quality of the temporary exhibitions which are consistently creative meaningful and thought provoking Overall the HART Museum is an excellent destination for art and culture lovers It is a refined and enriching experience that I would highly recommend to both locals and visitors

Ruben Brave★★★★★★★★★★5.07 months ago

Together with my youngest daughter, I visited the Constantin Brancusi exhibition — a sculptor who managed to give silence a shape. His work seems to breathe somewhere between heaven and earth, between stone and soul. Yet within that stillness lies tension: between admiration and discomfort, between form and history. For her, it was the first encounter with an artist who dared to mold silence. For me, it became an unexpected reunion — not with a person, but with my own work. Years ago, I created an artwork called “Geborgrouw” (“Sheltered Grief”): a smooth stone in which one places their hands to remember someone who has passed away. The gesture is simple and ritualistic — reminiscent of the Japanese mourning practice mizuko kuyō, where stones or small figures are dedicated to the deceased as acts of remembrance and connection. At the time, I didn’t know Brancusi. Only later did a sculpture teacher tell me that my stone evoked his Sleeping Muse — that same quiet tension between life and death, memory and forgetting. Standing among Brancusi’s works, I felt that recognition return — as if his art had become an anchor for my own search for solace in loss. Yet the exhibition also challenged me. The label accompanying “La N Blonde II”* explicitly noted that the original title used a “discriminatory, outdated term.” This curatorial choice reframed Brancusi’s legacy, acknowledging how beauty can emerge from systems that also exclude. It wasn’t about condemning the artist, but about expanding the conversation — asking who is rendered visible through art, and who remains unseen. The references to De Stijl (1918) and to Brancusi’s idea of the Axis Mundi — the invisible axis between earth and sky — gained new resonance for me. Perhaps that axis is not only a spiritual line upwards, but also an invitation to reflect: to pause and consider whom we choose to elevate, and why. At the end of our visit, my daughter carefully selected a few Brancusi magnets — miniature echoes of his timeless forms. Watching her choose them with such joy and precision felt like a small continuation of his spirit: that same curiosity, that same gentle touch between matter and meaning.

Dadi Chen★★★★★★★★★★5.04 months ago

Very impressive exhibitions of Jan Dibbets and "Animal Therapy". Very friendly staff (and one of them has really beautiful voice of singing : ).