In the decades after WW2, Amsterdam became the place to be for young artists, thanks chiefly to the approach taken by Willem Sandberg at the Stedelijk Museum. When Sandberg staged the first group exhibition of young Limburg artists in the town hall in Heerlen, in 1950, the press referred to them as ‘the Amsterdam Limburgers’ or the ‘Limburg Amsterdammers,’ with Ger Lataster as their ringleader. It was the post-war era: the old Limburg School was no more (Henri Jonas had died, Nicolas was in the United States), and Charles Eyck expressed in an open letter his horror over Sandberg’s approach (Sandberg being one of those to whom he had offered refuge in the wake of the bombing of the Amsterdam civil registry office). This letter permanently alienated Eyck from the younger generation and, until the 1960s and 70s, was the cause of youthful artistic rebellion against the authorities. The younger generation riled against the scholastic nature of art education; the gipsotheek had a narrow escape.