wolvecamp theo (3 Ergebnisse)

Venlo, van Spijk, 1990. 29,5 x 29,5 cm. Hardcover (clothbound) with dustjacket. Richly illustrated in color and b/w. Text in Dutch and English. 168 pag. - [near] FINE COPY * ** Trade edition: 2000 copies. [Art / Dutch artist [Nederlandse Kunstenaars] ].

Hardcover. Zustand: vg to near fine. Deluxe Limited Edition. #96 of 250 signed and numbered copies. Oblong Quarto. 168pp. Dark blue cloth slipcase. Illustrated dust jacket, with white lettering on front cover, back and spine. Dark blue stiff cloth boards, with debossed lettering on front cover and spine. The monograph was published on the occasion of the artist's 65th birthday and in conjunction with a series of traveling exhibitions of his work. The retrospective presents a critical analysis of the artist's work, life and connection to the COBRA movement; including many quotes from the artist and his contemporaries. Profusely illustrated with high quality color reproductions of Wolvecamp's works and b&w photos of the artist throughout his life. The influences of Picasso, Miro, Kandinsky and the abstract expressionists can be seen in Wolvecamp's work. Signed and numbered by the artist at the colophon, with two original hand-signed and numbered loose color screenprints by the artist, separated by white tissue paper at the back of the book. Slipcase with minor scratches and smudges. Dust jacket in with minor scratches, smudges and minor wear to corners and edges. Interior with small stain at top edge inside front cover and inside back cover. Slipcase in overall very good, dust jacket in very good+, binding in near fine and interior in overall very good+ condition.

40 x 32 cm., signed "wolvecamp '86" in lower right corner in black watercolour, title "In de stemming" and "40 x 32." and "P 't Hart 75 IJmuiden" in black felt marker on verso, artist framed. = Probably given as present to the Dutch artist Pieter 't Hart (1925-1987) who lived in IJmuiden and painted in a very similar style. Theo Wilhelm Wolvecamp was a painter and graphic artist who was part of the Cobra Group for a number of years. From 1945 he attended the art academy in Arnhem where he painted portraits, landscapes and still lifes; he only lasted about two and a half years. The Amsterdam painter Piet Landkroon helped him to come to Amsterdam in 1947 and work in a shared studio, where he often experimented at night. Corneille, who lived nearby, became curious about his work and after a visit to the studio he was very surprised. In Amsterdam, Wolvecamp quickly became involved in the founding of the Experimental Group in Holland and in the autumn of 1948 with the Cobra movement. In a short time he developed a spontaneous, abstract painting with free shapes and lines, with which he immediately linked up with the experimental work of the other painters in Cobra, such as Karel Appel, Constant, Corneille and Anton Rooskens, who were immediately convinced by his work at the time. they saw the improvisations of 'that poor Twente painter' for the first time. Wolvecamp enthusiastically supported Cobra's objectives; his paintings, gouaches and drawings from that period are explosions of spontaneous abstractions, in which black, almost calligraphic lines wind around the yellow and blue spots that move in a light space. Wolvecamp himself described his later working method in 1984: 'Het verhaal zit in de verf zelf. Ik schets improviserend met kleur en dan begin ik daar verf in te zetten. Soms gebeurt dat snel, maar vaak schilder ik het hele doek weer over, zodat er hier en daar nog iets van de materie zichtbaar blijft. Dan bouw ik het weer verder op. .Het is de materie die reflecteert op mijn gevoel., die me de ideeën en vormen suggereert en die me weer aanzet tot activiteit. Daardoor kom ik tot een vormgeving, tot een wereld die ik op dat moment voel. ik ga dan door verschillende stadia en alle handelingen vooraf zijn slechts hulpmiddelen.' Which translates as: 'The story is in the paint itself. I sketch improvisationally with color and then I start putting paint in it. Sometimes this happens quickly, but often I paint over the entire canvas again, so that some of the matter remains visible here and there. Then I build it up again. It is the matter that reflects on my feelings. which suggests ideas and forms to me and which encourages me back into activity. As a result, I arrive at a design, a world that I feel at that moment. I then go through different stages and all previous actions are only aids.'.