Antonius Johannes (Antoon) Derkinderen ('s-Hertogenbosch, 20 December 1859 – Amsterdam, 2 November 1925) was a Dutch painter, Glass artist, Draftsman and designer of book covers.

The simple reason why Derkinderen went to this school, was that the education was solid and free of charge.

Derkinderen would receive extensive teaching by Stracké, and would later note how much he appreciated his teacher.

[3] Three days a week Derkinderen got lessons in architectural drawing by Lambert Hezenmans, architect of the restoration of the famous local St. John's Cathedral.

In 1880 Derkinderen went to Amsterdam, where he studied at the Rijksakademie van beeldende kunsten till 1883.

He remained there for a year to study at the drawing academy led by Jan Frans Portaels.

His ideal was that students would learn to paint in a craftsman model based on the medieval guilds.

In 1907 Derkinderen moved to Amsterdam again, where he became principal of the Rijksakademie van beeldende kunsten.

In 1894 Derkinderen married the artist and historian Johanna Henriette Besier (1865-1944) but the marriage remained childless.

The first change was that he began to use shadowy halftints, the second that it became much more abstract, the prominent citizens were no longer recognizable.

He appreciated Derkinderen's intention to create a painting that was part of the building, instead of an independent work of art.

The Sacrament of Miracle was bought by a private person, and in 1895 it was received in loan by the Stedelijk Museum Amsterdam.

[11] In one of these transactions Klönne, received 2,000 for the painting, in return for which he gave up his claims against Derkinderen.

It was a work on canvas which was affixed to the wall, and made Derkinderen an established artist.

At first the architects E. Engel and C. Muysken wanted to refuse the work, because it did not fit with the renaissance character of the building.

The multidisciplinary cooperation between artists makes the book a prime example of late nineteenth century community art.

Derkinderen got an assignment for murals in the building that Berlage designed for the General Society for Life Insurance and Annuities Algemeene Maatschappij van Levensverzekering en Lijfrente, which was built 1895-1900.

This time, the presence of central heating induced Derkinderen to paint directly on the wall.

Derkinderen's next big assignment was for the Amsterdam Exchange, now known as the Beurs van Berlage.

The assignment to decorate the Great Hall of the chamber of commerce, which was really a city auditorium, was given in mid 1900.

[28] The issue was solved by appointing a committee of arbitration, which would decide whether Derkinderen could refer to artistic license, or was bound to work according to the project description.

[32] A commission was then appointed to investigate whether it would possible to change the acoustics of the hall so it would become suitable for public events other than formal meetings.

One could only be sure in advance by fixing canvas to the walls at a cost of 3,000 guilders, which would be lost if the result was insufficient.

Meanwhile the foundations of the exchange proved less than solid, and cracks in the walls appeared in multiple places.

The paneling prevented the execution of Derkinderens's design, and in a practical sense this also applied to the curtains.

[36] Above the entrance on the Vijzelstraat is a stairway with a series of 20 memorial leadlights offered by the Asian staff of the company.

[36] Derkinderen was inspired by e.g. the 'Gesamtkunst' of Richard Wagner and the Medieval Cathedrals, and strove for a fusion of art disciplines under the leadership of architecture.