Object consisting of 4 floating panels on one balance
Woodprint
Scale 1 : 1
Trimmed 54 x 46 cm
Object consisting of 3 floating panels on one balance
Woodprint
Scale 1 : 1
Trimmed 60 x 50 cm
1986 | Houtdrukken en Lithodrukken uit de jaren 80-85 |
Steendrukkerij Amsterdam NL (Woodprints and Lithos from the years 80-85) |
1986 | Wat Amsterdam betreft (About Amsterdam) | Stedelijk Museum Amsterdam (NL) Steendrukkerij Amsterdam announces the exhibition Wat Amsterdam betreft (About Amsterdam) in the Stedelijk Museum Amsterdam NL (November 22, 1985 - January 5, 1986) |
1986 | Travelling exhibition | Uitgevers van kunst in oplage De nieuwe generatie o.a. Bebert, Ink on Paper | Steendrukkerij Amsterdam NL (Editors of editions | The new generation) Rijksdienst Beeldende Kunst, Den Haag NL |
1987 | Stedelijk Museum Schiedam NL, Grafiek |
1988 | Rijksaankopen 1987 | Rijksdienst Beeldende Kunst, Den Haag NL Publication Leontine Coelewij about Cross-cut wood In the sixties Maria van Elk was trained at the department of Free Painting of the Minerva Academy in Groningen (Netherlands). |
1988 | Een collectie (A Collection) | ABN-AMRO |
1988 | Grafiek in het prentenkabinet (Graphic Works in the print gallery) | Stedelijk Museum Amsterdam NL | Bulletin S.M. |
1989 | Grafiek (Graphics) | Galerie Nouvelles Image, Den Haag NL| Works by a.o. Carel Visser, Rene Daniels, J.C.J. v.d. Heyden, Hans Schuil, Maria van Elk |
1989 | De grenzen van de grafiek (The Boundaries of Graphics) | 4 Visual artists on 4 locations: Dan Flavin, Joris Geurts, Maria van Elk , Herman Geerdink Galerie Dijk 1, Alkmaar NL| Folder (1989) Maria van Elk has a self-willed form language. She starts with a circle form that is printed through a lithographic process on wrinkled sheets of paper. After the paper is unfolded the result is a number of different circle segments. Although with each print the procedure is the same, the result is different every time. Variety also plays a role in her wood prints that have to be hanged one over the other. One work consists of different coloured sheets with rounded corners. The order in which these sheets can be hanged one over the other is variable so that one work can be shown in different ways. Folder from the exhibition De Grenzen van Grafiek Galerie Dijk 1 | Alkmaar NL |
1991 | Aanwinsten Nederlandse Grafiek. Grafiek in het prentenkabinet (Aquisitions of Dutch graphics. Graphic works in the print gallery) Stedelijk Museum Amsterdam NL |
1991 | Experimentele Grafiek (Experimental Graphics) | G.B.K. Grafiekmanifestatie Arnhem NL Forumdiscussie over de plaats van de grafiek binnen de eigentijdse beeldende kunst. (Panel discussion about the position of graphic arts within contemporary arts) Works by a.o. Carel Blotkamp, Carel Visser, Pieter Laurens Mol, Erik Andriesse, Maria van Elk De plaats van de grafiek binnen de eigentijdse beeldende kunst. Experimentele grafiek (The place of graphics in contemporary visual art. Experimental Graphics) (do. 24 okt t/m zo 10 nov 1991) | Extra uitgave Het Blad, Arnhem 1991 | page 48 |
1991 | Steendrukkerij Amsterdam, Amsterdam NL. Works by Armando, Jean-Charles Blaise en Maria van Elk |
1992-93 | Gedrukt door Rento Brattinga | Exposorium V.U. Amsterdam NL (Printed by Rento Brattinga) Publication in Ad Valvas | December 3, 1992 In her talk during the opening of the exhibition the exposorium staff member Hedriekje Bosma stressed the role of the printer during the creative process. According to her he has to keep an eye on how the artist works in order to be able to anticipate on it. The printer has to translate the ideas of the artist into graphics, for instance by indicating what format and what sort of paper would be most suitable. A good printer always is one step ahead of the artist. Quote from the above article by Dick Roodenburg | Ad Valvas | 3 December 3, 1992 | page 8 |
1994 | Grafiek Nu (Graphic Now) | Nieuwe Kerk, Amsterdam NL |
1994 | Academic Hospital Leiden NL (AZL) | Opening speech by Babette Welters Babette Welters in front of Cross-cut wood (r) and Length-cut wood (l) That brightness is not equal to predictability proves the object Cross-cut wood and Length-cut wood from 1986. The different parts of this 2 part work are hung on top of each other in such a way that the underlying coloured structures are partly visible. On the robust round forms and the elongated forms next to it the imprints of wooden disks and wooden planks are visible, and with this simple fact the two essentials of the pattern of wood is registered in a lovely way. Quote from the opening speech by Babette Welters |
1995 | Werken op papier (Works on Paper) | Stedelijk Museum Amsterdam (NL)
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1996 | Art on offer | Collection of graphics from the collection of the Stedelijk Museum Amsterdam NL Kunst aan bod | Grafiekcollectie uit het bezit van het Stedelijk Museum Amsterdam | Singer Museum Laren NL Publication 10 Jaar kunst aan bod 1987-1996 | Corrie v.d. Veen | Edition Reader's Digest Cross-cut wood & Length-cut wood on exhibition in Museum Singer, Laren NL (1996) |
1998 | Steendrukkerij Amsterdam, Amsterdam NL Publication Lang leve de lithografie (Long live lithography) | Maartje den Breejen | Het Parool |
2001 | For Rento collection Brattinga | Fries Museum Leeuwarden Publication For Rento, The printed collection | Text Pietje Tegenbosch | Edition Steendrukkerij Amsterdam & Fries Museum, Leeuwarden NL Publication Johanna Schuurman For Rento, the printed collection | Cover & page 78-79 |
2010 | Aegon Art Collection | Publication Art For Sure | Text a.o. Carel Blotkamp The concise presentation of the material and nothing other than the material in the prints of slices and planks of wood in the wood prints by Maria van Elk. Carel Blotkamp in Art for Sure | Translation Femme Vertaal Art for sure - Cover |
KLM | Schiphol Private collections |
This card is accompagnied by a series of two stamps.
Both pictures are part of the series of two wood prints Cross-cut wood ‒ Length-cut wood (1986).