Tineke Reijnders

A short trip along drawings

Lines - Lanes - Planes

The place of colour in the work of Maria van Elk is becoming more and more prominent. During the time when she based her work systematically on formal factors, the result usually was black, white or grey. Therefore, the different grey tones (and also the different structures) in her Minutes Drawings
1975-76
4 Five Minutes Drawings
from left to right: charcoal, conté, pencil, East-Indian ink
 were the result of The Hardness of the Pencil
1975
The Hardness of the Pencil - 2 lines
 . However, in her book Drawing 1973-1980 (published at the time of her retrospective show in the Amsterdam Stedelijk Museum) an omen is included of an investigative approach to colour. When, for instance, yellow oil paste is crossed by blue – at the same time naturally but also surprisingly – Green Contact Points
1980
Exchange of Colour
6 Pairs of Blue and Yellow Lines
 appear.

How do colours behave in mutual competition, which colours are dominant and when do two colours fuse into a resulting third. The challenge in respect to the power of a colour has produced a series of fine drawings with the title, Exchange of Colours
1983
Crossings
 , shown a.o.t. at the The Hague Gemeente Museum in 1984. Thirty smaller versions were executed anew in a sketchbook, Studies – Exchange of Colour
1984
Studies – Exchange of Colour
 , which is part of the National Collection of Art. In these drawings oil paste is used, a creamy and physically attractive material, that is especially suited for picking up and depositing of one colour to the other. From a few monochromatic geometrical planes a tangent plane results from a certain systematic way of working. First ultramarine, then black, then ultramarine
1984
First ultramarine, then black, then ultramarine
 , 60 x 60 cm, three rectangles in diamond shape, she adds for clarity. Here, the bright blue disappears completely behind the black, but in the final quart of the diamond, in which the latest applied ultramarine carries along the black, a sanctuary appears escaping control. Although the ingredients are mentioned exactly, the question of how they react on one another is followed by an open answer. The quasi-unpredictable outcome has always resulted in a great liveliness within this tightly defined work, but in her latest drawings this margin seems significantly increased, something that in the minimalistic context may be labelled as a riotous enjoyment.

The colour planes lie as equally styled islands in the white paper. The delightful Monochromes
1986
Monochromes
Oil paint drawing
 consist of more than one colour component and are blend into small parts with an oil paint pen making circular movements so that the fuchsia red, purple blue or mouse grey plane gets a vibrating texture.

Although these drawings flourish better in the intimacy of “Steendrukkerij Amsterdam” than in the Exposorium of the Free University, they do claim the location and have an architectural character. This is a consequence of the form of the colour plane: asymmetrical and outwardly of an illogical geometry. A slice of potato with straight sides, comparable to the works on paper of Joel Shapiro (Booymans van Beuningen owns a few of these). Like in her well known lithographs, Van Elk has the form originate by folding the paper. No wrinkles here, but sharp, often triangular folds that stay visible as construction lines after the paper is unfolded again. The bottom of the fold is the plane that is coloured. In case anyone is tempted to feelings of complacency because of the purity of form and the beauty of colour, the title: Scale 1 : 1
1985
Woodprints
Exposition Steendrukkerij Amsterdam
photo: Ferry André de la Porte
 , keeps him aware that this work only refers to itself. In the polyphonic choir of contemporary art Maria van Elk's voice does not strike us as loud or popular. It takes no little focus to value this concrete approach with its witty internal consequences.

A night blue plate of multiplex of which the contours, as in the drawings, consists of irregular straight sides, is hung up on a round hole. The title: Dropping Centre of Gravity
1986
Dropping Centre of Gravity
Photo: Ferry André de la Porte
 , raises our awareness of the punch line of this round hole: it is made exactly on the location from where any position of the plate is corresponding with gravity.

With the more monumental: Length Cut and Cross Cut Wood
1986
Length Cut and Cross Cut Wood
Photo: Ferry Andre de la Porte
 , prints which are shown here at the same time, this inner eloquence is weaker. Although they look great, they are less interesting than the more subdued works with their delicate point.

Tineke Reijnders, 1986
Never before published article for the Dutch opinion magazine De Groene

click here to see the original document (Dutch only)

 

Time

Minutes Drawing – white chalk/pencil
1974



dimensions
50 x 70 cm | 19,7 x 27,6 inch

collection
Stedelijk Museum Gouda NL

exposition
1975 Galerie Waalkens, Finsterwolde NL

publication
1974 Marginaliën over tijd en illusie - Antje von Graevenitz
[Marginalies on time and illusion]
 1981 Coosje van Bruggen - Maria van Elk: drawing 1973-1980, page 22
(self-managed publication | English version online)


4x Minutes Drawings - Charcoal, Conté, Pencil, East-Indian Ink
1976



dimensions
50 x 50 cm | 19,7 x 19,7 inch

collection


exposition
1981 Stedelijk Museum Amsterdam - Maria van Elk: tekenen 1973-1980

publication
1981 Coosje van Bruggen - Maria van Elk: drawing 1973-1980, pages 30-31
(self-managed publication | English version online)


Lines

Hardness of the Pencil - 2 lines 3H and 7B, white chalk
1975



dimensions
50 x 75 cm | 19,7 x 29,5 inch

collection
Stedelijk Museum Amsterdam NL

exposition
1975 Galerie Waalkens, Finsterwolde NL
1975 Galerie Swart, Amsterdam NL
1976 Galerie Milano, Milaan, Italy
1981 Stedelijk Museum Amsterdam - Maria van Elk: tekenen 1973-1980

publication
1975 Nieuwsblad van het Noorden (Erik Beenker in response to the exposition at Galerie Waalkens)
1979 Nederlandse Kunststichting Licht op het materiaal - text Jetteke Bolten-Rempt
[Light on the material]
 1981 Coosje van Bruggen - Maria van Elk: drawing 1973-1980, page 26
(self-managed publication | English version online)


Exchange of Colour - 6 Pairs of blue and yellow lines
Crayon and white chalk
1980



dimensions
70 x 70 cm | 27,6 x 27,6 inch

collection
Maria van Elk


Lanes

Crossing
1982


collage, oliepastel op papier
left: First blue, then black
right: First black, then yellow, then white

dimensions
about 50 x 50 cm | 19,7 x 19,7 inch

collection
Kunstmuseum Den Haag NL (before Gemeentemuseum Den Haag NL [purchase 1983]
An en Martien de Voigt, Gorkum NL
AMC De Bijlmer, Amsterdam NL
ABN-AMRO Amsterdam NL
Readers Digest
Private collections

exposition
1983 Gemeentemuseum Den Haag NL (May 28 – June 12)
1984 / Art Book

publication
1983 Museumjournaal nr.4 - page 240. Kunstenaarspagina's
text Enno Develing | photos Ferry André de la Porte
 1983 Vouwblad Gemeentemuseum Den Haag De keus van de kunstenaar - Alles tegelijk
text Maria van Elk & Enno Develing
 1984-85 Kunstbeeld
text Leo Duppen

photo
Ferry André de la Porte


Planes

Studies – Exchange of Colour
1984


Schetsboek (Sketchbook), edition 30
All drawings by hand.
about 24 drawings a book.

dimensions
31,2 x 24 cm | 12,3 x 9,4 inch

collection
Rijksdienst Beeldende Kunst, Den Haag NL
Gemeentemuseum Den Haag NL
Stedelijk Museum Utrecht NL
Stedelijk Museum Amsterdam NL
1 purchase & 1 gift from Coosje van Bruggen en Claes Oldenburg
 Stedelijk Museum Gouda NL
Stedelijk Museum Schiedam NL
Private collections

publication
1985 Book Rijksaankopen 1985. Werk van hedendaagse kunstenaars, page 87
Tom Lenders | Edition Rijksdienst Beeldende Kunst

Exchange of Colour
1983


Collage, drawing, oil pastel on paper

dimensions
60 x 60 cm | 23,6 x 23,6 inch

collection
ABN-AMRO Bank, Amsterdam NL

Exchange of Colour
First white, then black, then white over black
1983


Collage, drawing, oil pastel on paper

dimensions
42 x 42 cm | 16,5 x 16,5 inch

exposition
1984 De Kunsthal, Hengelo (OV) NL

publication
1984   Eerst zwart, dan Wit   , folder + poster (edition in combination with exhibition)
design folder and poster Maria van Elk & Sepp Bader



1984 05 02 Twentse Courant (Geconcentreerde schilderkunst van Maria van Elk, P.B.)
[Concentrated painting of Maria van Elk]
 1984 05 14 Tubantia | Hengelo's Dagblad (Maria van Elk en de essentie van de lijn, J.M.P.)
[Maria van Elk and the essentials of the line]

Exchange of Colour
First red, then indigo, then yellow
1984


Drawing, oil pastel
This work is part of a series

dimensions
20 x 20 cm | 7,9 x 7,9 inch

collection
 ABN-AMRO Bank, Amsterdam NL

publication
1988 / Book Een collectie, keuze uit de verzameling van de Amro Bank, page 122
preface Dr. W.A.L. Beeren | edition ABN-AMRO

Exchange of Colour
Nr. 71 First blue, then red
1984


Schetsboek (Sketchbook), edition 30
All drawings by hand.
about 24 drawings a book.

dimension
31,2 x 24 cm | 12,3 x 9,4 inch



Collage, oil pastel

dimensions
80 x 80 cm | 31,5 x 31,5 inch

collection
Stedelijk Museum Schiedam NL

exposition
1985 juni Galerie Liesbeth Lips, Delft NL
1985 Three drawings used in the movie De Zeekoet (The Guillemot)
organisation Max von Kreyfelt

publication
1986 Aspekten van het tekenen na 1945 (Hans Paalman)
[Aspects of drawing after 1945]


Exchange of Colour
First ultramarine, then black, then ultramarine over ultramarine and black
1984


Collage, oil pastel / paper (with white line)

dimensions
83 x 83 cm | 32,7 x 32,7 inch

collection
Ferry André de la Porte

photo
Ferry André de la Porte

Exchange of Colour
First black, ten ultramarine, then black
1984


Collage, oil pastel / paper

dimensions
83 x 83 cm | 32,7 x 32,7 inch

collection
Private collection

publication
2017 Postcard (self-managed publication)

photo
Ferry André de la Porte


Monochromes
Styled islands, the bottom of the fold
1986


Geometric fold shapes, multiple colours mixed on paper)

First series: drawings, oilpaint stick/Japanese paper

dimensions
65 x 65 cm | 25,6 x 25,6 inch

collection
Stedelijk Museum Gouda NL
3 drawings
 Private collections

exposition
1986 Steendrukkerij Amsterdam NL
1986 V.U. Exposorium, Amsterdam NL

publication
1986 11 14 Schaal 1 : 1 Scale 1 : 1
Iris Dik | Ad Valvas, V.U. Amsterdam

photo
Ferry André de la Porte


Second series: drawings, oil pastel/thinner Japanese paper

dimensions
40 x 40 cm | 15,7 x 15,7 inch

collection
Rijksmuseum Amsterdam NL
8 drawings
 Maria van Elk
Private collections


Scale 1 : 1 - Woodprints on paper
1985


Series of 10 Woodprints
Exposition Steendrukkerij Amsterdam (November 13 - December 21, 1985)

dimensions
61 x 61 cm | 24 x 24 inch per print
61 x 610 cm | 24 x 240,2 inch complete work

edition
1


series of 10 Woodprints (detail)

exposition & publication
1985 Steendrukkerij Amsterdam NL
1986 Exposorium VU Amsterdam NL
publication: Iris Dik in Ad Valvas
 1987 Gemeentemuseum Den Haag NL
publication: De Keus van de kunstenaar - Alles tegelijk
(The choice of the artist - Everything at the same time)
text Enno Develing & Maria van Elk
edition Gemeentemuseum Den Haag NL

 photo's
Ferry André de la Porte


Dropping Centre of Gravity
1986


Wooden object
Portrait of Maria van Elk beside Dropping Centre of Gravity

exposition
1986 Steendrukkerij Amsterdam NL

photo
Ferry André de la Porte
Expositie Steendrukkerij Amsterdam NL


Length-Cut Wood & Cross-Cut Wood
1986


Series of 2 woodprints | edition 23
Print in collaboration with Rento Brattinga

left: Cross-Cut Wood
trimmed 54 x 46 cm | 21,3 x 18,1 inch

right: Length-Cut Wood
trimmed 60 x 50 cm | 23,6 x 19,7 inch

collection
Stedelijk Museum Amsterdam NL
Stedelijk Museum Schiedam NL
Fries Museum Leeuwarden NL
Rijksdienst Beeldende Kunst, Den Haag NL
Nationale Nederlanden
Aegon
ING
Nederlandse Bank
Private Collections

exposition & publication
1985-86 Stedelijk Museum Amsterdam NL - Wat Amsterdam betreft
1986 Rijksdienst Beeldende Kunst, Den Haag NL
1986 Reizende tentoonstelling - Uitgevers van kunst in oplage
De nieuwe generatie, o.a. Bebert, Ink on Paper, Steendrukkerij Amsterdam NL
 1987 Stedelijk Museum Schiedam NL, grafiek
1988 Rijksdienst Beeldende Kunst, Den Haag NL - Rijksaankopen 1987
publication: Leontine Coeleweij about Cross-Cut Wood
 1988 ABN-AMRO - Een collectie
1988 Stedelijk Museum Amsterdam NL - Grafiek in het Prentenkabinet
publication: Bulletin SM
 1989 Galerie Dijk 1, Alkmaar NL - De grenzen van de grafiek
1989 Galerie Nouvelles Images, Den Haag NL
1991 Stedelijk Museum Amsterdam NL - Grafiek in het Prentenkabinet
Aanwinsten Nederlandse grafiek
 1991 G.B.K. Grafiekmanifestatie, Arnhem NL - Experimentele grafiek
1991 Steendrukkerij Amsterdam NL - Armando, Jean-Charles Blais en Maria van Elk
1994 Nieuwe Kerk, Amsterdam NL - Grafiek nu
1994 AZL (Academic Hospital), Leiden NL
1995 Stedelijk Museum Amsterdam NL - Werken op papier
1996 Singer Museum, Laren NL - Grafiekcollectie uit de collectie van het Stedelijk Museum Amsterdam
publication: 10 Jaar kunst aan bod | Edition Readers Digest
 1998 Steendrukkerij Amsterdam NL
2001 Fries Museum Leeuwarden NL - For Rento, collection Brattiga
publication: For Rento, the printed collection | text Pietje Tegenbosh | (English) edition Steendrukkerij Amsterdam & Fries Museum Leeuwarden
 2010 Aegon Art Collection
publication: 1987 Aankopen 1987, werk van hedendaagse beeldende kunstenaars | text Leontine Coeleweij, page 71
1988 Art for Sure | text Carel Blotkamp, page 278 | pictures page 300-301 | counselor Corrie v. d. Veen

For detailed information go to webpage Cross-Cut Wood & Length-Cut Wood