Erik Oldenhof (1951) - Untitled





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Erik Oldenhof (1951), Untitled, oil on canvas, 42 x 54 cm, period 1990–2000, Original edition, hand-signed, sold with frame, origin Netherlands, sold by Galerie, in good condition.
Description from the seller
Erik Oldenhof - ZT - oil paint on canvas - 42 x 54 cm
Those who pay close attention will quickly notice the intense emotion in Erik Oldenhof's work. But not immediately. After all, simplicity is the strength of the Amsterdam artist. In his line paintings, he aims to achieve maximum artistic impact with minimal means. The power of restraint has been demonstrated before.
As in the Minimal Art and Fundamental Painting of the sixties and seventies of the last century, Oldenhof takes a significant step further. If you take the trouble to step into the shoes of his paintings, you see that his focus on the painting process is characteristic of all his work. Every painting must be read. In the compositions of recent paintings, relationships can be seen with early graphic work and with his training as an architectural draftsman. References in his use of color can be linked to the work he did earlier in his father's whitewashing workshop. In canvases where the thicknesses of the horizontal lines vary, landscape connotations are evident. His paintings are about the process of painting—overpainting, adding, and removing, surface and depth, light and shadow, leaving traces and causing derailments, creating order and deliberately disrupting it. From a distance, Oldenhof’s canvases seem to consist only of strict, systematic, and rational line structures. But up close, the canvases pulse and vibrate exuberantly with their thick layers of paint.
Irregularities and ragged edges emphasize that the abstract shapes are created not by a machine, but by a human being.
Seller's Story
Erik Oldenhof - ZT - oil paint on canvas - 42 x 54 cm
Those who pay close attention will quickly notice the intense emotion in Erik Oldenhof's work. But not immediately. After all, simplicity is the strength of the Amsterdam artist. In his line paintings, he aims to achieve maximum artistic impact with minimal means. The power of restraint has been demonstrated before.
As in the Minimal Art and Fundamental Painting of the sixties and seventies of the last century, Oldenhof takes a significant step further. If you take the trouble to step into the shoes of his paintings, you see that his focus on the painting process is characteristic of all his work. Every painting must be read. In the compositions of recent paintings, relationships can be seen with early graphic work and with his training as an architectural draftsman. References in his use of color can be linked to the work he did earlier in his father's whitewashing workshop. In canvases where the thicknesses of the horizontal lines vary, landscape connotations are evident. His paintings are about the process of painting—overpainting, adding, and removing, surface and depth, light and shadow, leaving traces and causing derailments, creating order and deliberately disrupting it. From a distance, Oldenhof’s canvases seem to consist only of strict, systematic, and rational line structures. But up close, the canvases pulse and vibrate exuberantly with their thick layers of paint.
Irregularities and ragged edges emphasize that the abstract shapes are created not by a machine, but by a human being.

