Nachtvogels 1985 - 1989
- About the artworkAbout artwork & ArtistWolvekamp, Theo Wilhelm ('Theo Wolvecamp'); Hengelo 1925 – 1992 Amsterdam
Title: Les Oiseaux de nuit / Nachtvogels (Night Birds) 1985 - 1989
oil on canvas, verso signed 'Wolvecamp'
130 x 55 cm, oil on canvas
This was the last painting Wolvecamp finished shortly before his death in 1992. He began to work on it in in 1985
Museum Flehite, Mondriaanhuis, Amersfort, the Netherlands, 'cobra tot zero', October 31th, 2015 until Feruary 6th, 2016
Cobra Museum voor Moderne Kunst Amstelveen the Netherlands; 'Theo Wolvecamp',
October 4th until December 8th, 2002
Museum Schiedam, Eigen weg
Onno Maurer, Hans Sizoo, Colin Huizing; 'cobra tot zero', published by Uitgeverij de Kunst Zwolle., 1015, image on page 38
Adri Colpaart, Hans Sizoo, Leo Duppen, Margot Welle; 'Wolvecamp', Stichting Monografie Theo Wolvecamp, 2002, image on page168.
Diana Wind e.a.; 'Eigen weg', Uitgave Stedelijk Museum Schiedam, z.j. met afbeelding op blz. 64
Herkomst: particuliere collectie The Netherlands
- 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.