Mask by Theo Wolvecamp
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Mask 1983

Theo Wolvecamp

Oil paintPaint
50 ⨯ 40 cm
ConditionExcellent
Currently unavailable via Gallerease

  • About the artwork
    Wolvekamp, Theo Wilhelm ('Theo Wolvecamp'); Hengelo 1925 – 1992 Amsterdam
    Titel; Masker, olie op doek
    50 x 40 cm., verso gesigneerd en gedateerd op doek: 'wolvecamp' '62'
    Opmerking: Dit werk is omstreeks 1983 geschilderd, waarschijnlijk over een vroeger werk uit 1962
    Literatuur: Adri Colpaart ea. 'Theo Wolvecamp'. Stichting Monografie Theo Wolvecamp. Uitgave verschenen ter gelegenheid van de tentoonstelling Theo Wolvecamp in het Cobra Museum voor Moderne Kunst Amstelveen, 4 oktober t/m 8 december 2002, blz. 66, met afbeelding
    Tentoonstelling: 'Theo Wolvecamp' in het Cobra Museum voor Moderne Kunst Amstelveen, 4 oktober t/m 8 december 2002
    Herkomst: particuliere collectie
    In bruikleen bij het Rijksmuseum Twenthe tijdens de tentoonstelling: 'Wolvecamp en de Weerd, geestdrift voor de schilderkunst' van mei tot oktober 2017
  • About the artist

    It was during the Second World War that Theo Wolvecamp started to paint. From 1945 - 1947 he attended the Art Academy in Arnhem, The Netherlands, and shortly afterwards he settled in Amsterdam. During this period he was keenly interested in German and Flemish expressionism, and soon developed his own style of spontaneously applied symbols.

    Wolvecamp was a co-founder of the Dutch Experimental Group in 1948, and also participated in the CoBrA art movement during that time, departing in 1949 following an exhibition at the Stedelijk Museum. He would become a member again in 1951 and travel internationally with the group, although not much of his work survives from this period. This is because Wolvecamp was often very critical of his work and destroyed many of his own paintings. His style varied over his career as he was constantly influenced by other painters, such as Pablo Picasso, Joan Miró and Kandinsky.

    Wolvecamp never felt truly at home in the city and preferred to work in isolation. His signature style, with its characteristically applied forms and colours, build on the symbolic language of abstraction that he developed during the CoBrA period. It was not until 1967 that he chose to go public with his work, at a one-man exhibition in Arnhem. In the years that followed his work has been exhibited in various exhibitions across The Netherlands and other countries.

Artwork details