Portfolio
Works for inspiration
An overview of work by Henk van Dam for inspiration — no longer for sale, but an impression of his style, subjects and development over time. Click on a work to enlarge it, or ask for more information via the CONTACT button.
No. 145
Two models, mauve and ochre
Two figures close together, the left one in soft mauve and pink, the right one in a bright yellow-green olive, both outlined with thin black contour lines. The two figures seem to lean toward each other, their shoulders almost touching. The colour contrast between the cool mauve and the warm ochre gives the composition a lively, dialogic tension.
Contact
No. 146
Two models, grey silhouette
A head in grey silhouette, sketched at upper left with quick, dark lines, beside a second, much more developed figure built up in blue, teal and olive green. Orange and pale blue contour lines frame the second figure, while the first remains in shadow and anonymity. The contrast between the fleeting silhouette and the more richly worked figure gives the sheet a layered, almost narrative depth.
Contact
No. 147
Model, olive face ochre lines
Standing figure with dark hair, the face and neck painted in olive green against a pale background. Dense, ochre-coloured contour lines enclose the shoulders and arms, while a brown hand rests at the hip. The combination of the cool olive green in the face and the warm ochre lines around the body gives the figure an intriguing temperature contrast between skin and outline.
Contact
No. 148
Kneeling man in dark green and red
Kneeling figure with dark navy blue hair, with a red accent on the arm against a dark green torso beneath. The contour lines are loose and quickly drawn, with rust-brown chalk lines indicating arms and legs. The contrast between the vivid red of the drape and the deep, dark green of the torso gives the figure a rich, almost luxuriant colour depth.
Contact
No. 149
Two models, maroon overlap
Two overlapping reclining figures, merged into a dense mass of deep red, burgundy and olive green. The contours of the two bodies are barely distinguishable from one another, with ochre and white planes suggesting the shape of arms and legs. The intense, saturated colours and the compact composition give the sheet a dramatic, almost entangled intensity.
Contact
No. 150
Two models, silhouette and olive
A dark figure, painted almost entirely as a silhouette in black and brown, on the left of the sheet, beside a second, much more detailed figure on the right seated on a chair with orange legs, the body in fresh olive green. A third, smaller element in yellow indicates a third figure or object. The contrast between the flat silhouette and the more richly worked, green figure gives the sheet a strong compositional depth.
Contact
No. 151
Model, bright green leg
Seated figure, the body painted predominantly in fresh, bright green with dark black accents at the shoulder and hip. A vivid yellow leg stands out sharply against the rest of the composition, as the only truly vivid colour accent. Thin black chalk lines loosely frame the figure. The combination of the fresh green and the bright yellow leg gives the figure a lively, almost electric energy.
Contact
No. 152
Two models, red scribbles
Two figures on one sheet: on the left a figure in cool grey and ochre-brown tones, calmly set down; on the right a second figure in warm orange and olive green, surrounded by an exuberant fan of bright red chalk scribbles curling around the body like a halo. The contrast between the restrained figure on the left and the energetic, chalk-framed figure on the right gives the sheet a lively duality.
Contact
No. 153
Model seated and standing
One figure with hand on hip, in a dynamic, self-assured pose, the other seated in plain orange-brown tones. The body is painted in warm orange and pink, with dense dark hair and a small blue accent within it. Green contour lines accentuate the other arm and a bag or object at the side. The open, assertive posture and the warm palette give the figure a lively, almost theatrical presence.
Contact
No. 154
Model, magenta sparse
Very sparse, almost vanished reclining figure, built from thin pink and magenta chalk lines floating loosely across the sheet. A small dark blue and orange detail at lower left is the only concentration of colour. The rest of the composition consists almost entirely of air and chalk stroke — a figure more suggested than drawn.
Contact
No. 155
Model, ochre contour reclining
Reclining figure, the head in olive green with a blue line running through it, the body built up almost entirely from thin, ochre-brown contour lines against an otherwise white sheet. Only a small grey plane at the torso and a purple detail at the foot break the predominantly linear, sparing composition. The sobriety of the colour leaves the emphasis entirely on the fluid, unbroken line of the body.
Contact
No. 156
Model, sober sage
Sober seated figure, entirely in muted sage and olive green, with a single dark navy blue accent at the head. The arms are sketched with thin, dark lines running loosely down beside the body, one resting on a small yellow plane. The restrained, almost monochrome palette and the calm posture give the figure a meditative, inward-turned stillness.
Contact
No. 157
Model, mauve olive leg
Reclining figure in mauve, with an olive green leg stretching diagonally across the sheet. A thick black contour line encloses the torso and head with decisive, unbroken strokes. Pink chalk lines loosely frame the composition. The contrast between the soft mauve of the torso and the fresh green of the outstretched leg gives the figure a lively, almost leaping dynamism.
Contact
No. 158
Model, expressive charcoal
A very expressive, sketchy study in charcoal and pink chalk, little paint. Dense, energetic black lines scribble over one another in a tangle that barely suggests a body, with a single red and pink chalk line running loosely through it. The rough, untamed linework gives the sheet a raw, immediate energy — closer to a gesture than an observation.
Contact
No. 159
Model, blue scribbles olive
Leaning figure in olive green, surrounded by blue pencil scribbles floating like a loose, electric haze around the body. The head and hair are set down in darker green and ochre, with a small red accent at the neck. The blue scribbles, extending well beyond the figure, give the composition an energetic, almost vibrating movement around the otherwise calm, green form.
Contact
No. 160
Model, warm brown pink reclining
Reclining figure in warm brown and pink, with a striking blue hair accent above the head. The torso is tinted in soft salmon pink and peach, with a red band falling diagonally across the body. Rust-brown and ochre tones fill the rest of the figure, which stretches languidly across the sheet. The combination of the cool blue in the hair and the predominantly warm body colours gives the figure a subtle, refined temperature contrast.
Contact
No. 161
Model, pastel abstract
A strongly abstracted composition in soft pastel green and pink, in which a figure is barely recognisable. Vague, dark shapes suggest a head and a torso, while olive green and blue marks fill the rest of the sheet. A small rosy detail at lower left is one of the few concentrations of more vivid colour. The faded, soft transitions between the colours give the composition a dreamlike, almost hazy quality.
Contact
No. 162
Model, second study red chalk lines
A seated pose similar to earlier studies, surrounded by dense pink-red chalk lines curling around the figure like a web. The body itself is indicated with only a few green and brown brushstrokes — an arm, a shoulder — while the rest of the form is carried by the chalk lines themselves. It is a repetition and variation on an earlier pose, this time with emphasis on the dense, energetic web of lines around it.
Contact
No. 163
Model in yellow/green
Seated figure with a yellow-green head of hair, small orange and red accents glinting through it. The body itself remains largely white and open, with thin pencil and brush lines loosely indicating the form. At the bottom a warm ochre-coloured mark adds one last colour accent. The combination of the vivid yellow-green above and the cool teal top gives the figure a fresh, almost seasonal clarity.
Contact
No. 164
Model, seated, elbows on knees
The hands are folded behind the neck and the elbows rest on the knees. The torso is painted in cool green tones, with a dark blue accent at the neck. Below, warm brown tones indicate the thigh and knee, in sharp contrast to the cool green of the shoulder.
Contact
No. 165
Model, deep red second study
Another study in deep red, with a yellow-green head of hair standing out vividly against the warm, burgundy-red dress. The sleeve is painted in olive green and gold, with blue pencil lines loosely framing the rest of the form. The combination of the vivid yellow-green hair and the deep, saturated red of the dress gives the figure a rich, almost festive colour intensity — a second, warmer variation on an earlier pose.
Contact
No. 166
Model, grey maroon accent
Reclining figure in grey, with a dark maroon accent across the midriff. The body is kept largely white and grey, with thick, pasty layers of paint picking up the texture of the paper. At the torso a compact burgundy plane breaks through the cool grey tones, flanked by small green and yellow accents at the leg. It is a sober, almost sculptural sheet, in which the maroon accent functions as the only warm interruption.
Contact
No. 167
Model, orange scribbles reclining
Model lying face down, the head resting on one hand, the elbow stretched forward. Head, shoulders and chest are in the shadow of rust-brown orange, while the rest of the body is only indicated by a tangle of lines, in which details of the feet are visible. The loose, exuberant chalk lines around it give the composition a soft, almost cloud-like framing around the warm core of colour.
Contact
No. 168
Model, sage grey hair
Leaning figure in sage tones, with grey hair and warm peach skin. The head is set down with solid grey-blue brushstrokes, while the torso is kept in a softer, greenish sage tone. Orange and rust-brown accents at the arms and legs bring warmth to the composition. The combination of the cool grey hair and the warm skin tones gives the figure a lively, almost autumnal palette.
Contact
No. 169
Model, sienna linework abstract
Strongly abstracted reclining figures, warm sienna lines with a blue-red accent. A body is built from a dynamic network of ochre-brown lines running across the sheet like the legs and body of a running animal. At upper right, far removed from the rest, a small, intense blue and burgundy mark indicates a second, smaller element. The fluid, almost calligraphic linework gives the figures a strong sense of speed and movement.
Contact
No. 170
Reclining model
Reclining model, the arms under the head, in blue and ochre lines, minimal colour. On the left a head is set down with a few touches of dark green, yellow and burgundy, connected by a thin ochre arm to a second, much sparser figure on the right, built almost entirely from blue pencil lines. A charcoal-like, ribbed structure at the bottom of the sheet suggests a chair or staircase. The sparse, almost calligraphic linework gives the whole an airy, sketch-like quality. In a few scribbles the feet are indicated.
Contact
No. 171
Model, pink dynamic chalk
Dynamic reclining figure in pink and ochre, bright chalk lines. The body is built from warm ochre and ochre-brown planes, with a black contour line fixing the pose. Dense magenta chalk lines frame the figure in broad, energetic arcs, like a burst of movement around the warm core of colour.
Contact
No. 172
Model, ochre scarf seated
Seated figure with an ochre scarf, pink chalk lines and dark hair. The face is unusually detailed, with green eyeshadow and red lips giving the figure a portrait-like presence. The torso is kept in a soft pink wash, with dense, crisscrossing pink chalk lines falling over the body like a scarf or shawl. The ochre background frames the figure with warmth.
Contact
No. 173
Model, navy blue foot accent
Reclining figure in cream and olive, with a dark navy blue accent at hand and foot. The body is set down light and airy, with blue contour lines loosely holding the form together. At lower right the composition thickens into a dark, olive green and navy blue mass reading as a foot or shoe. A small red accent at the belly is the only other colour outside the predominantly cool, pale composition.
Contact
No. 174
Model, delicate green lines
Delicate seated figure, green lines on a light, hazy ground. The face is carefully drawn with thin black lines, with a small red accent at the mouth. The body dissolves further into a haze of ochre-brown and green, with thin green pencil lines growing around the figure like grass or blades. The precision of the face contrasts with the fading, transparent rest of the sheet.
Contact
No. 175
Model, yellow ochre abstract
A very abstract study in yellow and ochre chalk, the hair as a dark mark being the only figurative clue. Broad, circular arcs of yellow and orange chalk fill most of the sheet, while a compact, dark green and black paint mark at upper left forms the only concrete element. Thin purple lines cross through the composition. It is one of the most abstract sheets in the series, in which colour and gesture entirely take the place of the figure.
Contact
No. 176
Model, yellow teal reclining
Reclining figures in yellow and cream, teal accents at the face. The body is set down light and airy in broken white, with a compact, dark blue-green plane marking the face. A vivid yellow accent at the leg breaks through the otherwise soft, pale palette. Brown contour lines accentuate arms and legs with quick, confident strokes. A very dynamic pose through the broad brushstrokes.
Contact
No. 177
Model in green
Seated figure with a green torso. The head is set down in warm pink and brown tones, while a dramatic grey drape falls diagonally down from the shoulder. The green torso, partly accented with white highlights, gives the composition a fresh counterweight to the heavier grey fabric. Brown contour lines frame the seat and legs.
Contact
No. 178
Model, ochre chalk reclining
Reclining figure, cream with dense ochre chalk outlines. The body is kept almost entirely in broken white and cream, framed by a dense network of ochre-yellow chalk lines lying around the form like a halo. At the head, on the left, a small green and blue accent gives the only vivid colour. At the bottom a compact, copper-coloured paint mark adds one last warm note. The abundance of chalk lines gives the sheet a soft, almost woolly texture.
Contact
No. 179
Model, dancing pink
A dancing, dynamic figure with arm stretched out, pink and green tones. The upper body is painted compact and dark, the head turned to one side, while an arm stretches far to the right in a grey, almost transparent sweep. Below, the composition explodes into vivid green and red strokes swinging around the legs like a skirt or garment. The movement of the dance is palpable in the diagonal, fanning-out construction of the composition.
Contact
No. 180
Two figures in olive green and orange
Two seated figures, in which bold lines indicate the contours of one of the women — the form of the other remains vague.
Contact
No. 181
Two figures in conversation
Both figures are indicated with loose scribbles. An orange-brown mark on the right anchors the composition.
Contact
No. 182
Dancing figures
Two dancing figures. The one on the right briefly shown with a recognisable face. The other in solid red and brown, whose spread legs complete the composition.
Contact
No. 183
Model, green scribbles reclining
Reclining figure, cream with a warm red-brown accent and green chalk scribbles. The body is set down light and airy, with a compact, colourful head on the left where blue, pink and brown come together. Thin green chalk lines frame the rest of the figure in loose, fanning arcs reaching well beyond the body. The combination of the warm core and the cool, green framing gives the sheet a surprising balance.
Contact
No. 184
Model, yellow hair blue line
Seated figure with yellow-blonde hair, blue and brown contour lines. The face is set down with a green accent at the mouth and warm brown tones. Blue pencil lines loosely frame the arms and torso, while a deep red paint mark at lower left adds one last colour accent. The combination of the vivid yellow hair and the cool blue lines gives the figure a fresh, almost electric colour scheme.
Contact
No. 185
Two models
Seated figure with a baby or bundle in her arms, blue sash, a second figure faintly beside her. The woman is painted in warm, ochre-brown tones, with a red accent at the breast where the infant rests. A pale blue band runs diagonally across the torso. On the right, loosely sketched in the same warm tones, a second, smaller figure can be seen — perhaps a second child or a companion. It is one of the few works in the series with a clearly recognisable, intimate motherhood theme.
Contact
No. 186
Two figures, blue lines
Model study, in which one figure is set down with a few bold lines. The other is sketched loosely, with an accent on a brown head of hair.
Contact
No. 187
Model, olive dark contour
Reclining figure in cream and olive green, dark contour line, warm brown accent. The head is painted in warm ochre and red tones, while the body below dissolves into a haze of cream and soft green. A thick, dark green contour line encloses the torso and legs with decisive turns. The combination of the warm head and the cooler, green body gives the figure a subtle colour gradient from top to bottom.
Contact
No. 188
Model, red yellow table
Seated figure in red and yellow, a green-drawn table or chair in the background. The body is painted in warm, orange-red tones, with a dark head of brown hair. Thin green lines draw a table or chair on the right, giving the figure spatial placement. Red accents at the hand and leg bring extra intensity to the composition. The warm palette and the presence of furniture give the sheet a domestic, everyday atmosphere.
Contact
No. 189
Model, ochre red teal hair
Reclining figure in ochre and red, teal-green hair accent. The body is built from broad, diagonal planes in warm ochre-yellow and red, overlapping one another like layers of fabric or drapery. The head, at upper right, has a small teal-green accent in the hair that breaks through the composition as the only cool colour. The diagonal, layered construction gives the body a sense of movement and texture, more textile than skin.
Contact
No. 190
Model study in mustard yellow
A few strokes in mustard yellow, with a blue accent on the left shoulder, face and torso give the figures form. A second figure is sketchily rendered behind it.
Contact
No. 191
Model, olive navy abstract
Strongly abstracted reclining figure in olive green and navy blue, sienna contour. The body is built from broad, stippled planes of green and white, with a compact, dark mass in navy blue and ochre-brown reading as a bent limb. Thin sienna and blue lines loosely frame the composition. The stippled texture of the paint gives the sheet a grainy, almost snow-like surface.
Contact
No. 192
Model, dark green warm
Seated figure, warm reddish-pink tones. The face is sketched with red and brown chalk lines, the eyes with a soft blue accent. A dense, dark green band falls vertically from the neck to the torso, like a scarf or tie. At the bottom a small red and black accent adds one last colour note. The combination of the warm face and the cool green band gives the figure a groomed, almost wintry character.
Contact