removed. As noted above (see "Genres"), the classification of van Genk's hoard of raincoats as works of art is controversial, and was not accepted by his dealer Nico Van Der Endt. Yet the raincoats entered the collection of the Museum De Stadshof in Zwolle at the initiative of Ans Van Berkum, and were interpreted as an integral part of van Genk's oeuvre in her 1998 monograph on the artist. The jackets have subsequently been included in exhibitions on the artist. The Arnheim Bus Station Installation Beginning in the 1980s, van Genk made nearly 70 miniature trolleybuses, constructing these toy-like models “out of plate material and selected waste material.” These trolleybuses were the constituent parts of a bigger installation of the Arnheim Bus Station that gradually colonized the living room of van Genk's apartment. Library In an essay on van Genk's library, Patrick Allegaert and Bart Marius repeatedly suggest that it should be considered an integral part of van Genk's artistic oeuvre. Van Genk read widely in at least three languages, with fluency in German and English as well as Dutch. His library housed books on many subjects reflecting his wide-ranging interests: "general art history, music history, art brut and naive art, Soviet Russian aviation, trains, buses, trams, sexuality, countries and cities, world history..." Allegaert and Marius note that there were no books on psychiatry in van Genk's library. Although Allegaert and Marius argue for the exceptional import of van Genk's library, claiming that "it is part of his artistic production," they only show how van Genk used his library as source material, an image bank to draw on and transform in his drawings, paintings, and collages: "And herein lies the importance of his library," they write. "The realism and accurateness of his work were made possible thanks to the visual memory bank to which van Genk had access in his books." It is not uncommon, however, for artists to use books as source material. What is uncommon is to consider the source material part of the artistic production. Themes and meaning Cityscapes predominate as the main subject of van Genk's work, and within the city he was especially drawn to transport sites. For this latter reason he referred to himself as “King of Stations.” This title, designating a ruler, points to the theme of power, which has assumed a singular importance in the literature on the artist. As a consequence