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. 241
Two models, yellow-green red drapery
A model leans forward, the hair set loosely in yellow-green tones, the lips accented in bright red. A deep red, almost draped cloth falls in broad bands across the torso, cut through by strokes of olive green. To the right, smaller and more faintly sketched in brown and a haze of pink, a second figure appears, as if the model is leaning toward someone or reaching to hand something over. Blue chalk sketches a third, almost invisible presence in the background, turning the drawing into a moment shared between people rather than an isolated pose.
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No. 242
Model, cream olive blue accent
Standing figure, cream with olive green lines and a blue accent at the shoulder. The body is built from a dense network of white and cream-coloured brushstrokes, with thin olive green chalk lines swarming around the form like blades of grass. At the shoulder a small, intense blue and purple mark provides the only vivid colour accent. The face is sketched with a few quick black lines and a red touch at the mouth.
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No. 243
Model, seated pink skirt
Seated figure in a pink skirt with a blue sash, dark hair. The upper body is set down in warm brown and green tones, the face accented with red lips. The skirt itself, in soft pink, swings dynamically around the legs, held together by thin blue lines falling like ribbons along the body. The dancing, asymmetrical pose and the soft skirt fabric give the figure a graceful, moving elegance.
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No. 244
Model, teal wash reclining
Reclining figure in a pale teal wash, dark green pencil lines. The body lies stretched out, kept almost entirely in a transparent, washy teal tone. Thin dark green pencil lines accentuate the edge of the body and a small head with a dark red lock of hair on the right. The coolness and transparency of the wash give the figure a watery, almost floating presence.
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No. 245
Model study
These models are sketchily rendered in a tangle of magenta lines and an accent of ochre, green and pink.
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No. 246
Model, arm raised chartreuse
Standing figure, the body built up in white and cream with ochre and blue accents. The arm is stretched out to the right, with a pale, broad brushstroke fixing the movement. At the neck and shoulder, dark blue and ochre marks give the only concentrated colour, against an otherwise sparse, almost sketch-like torso. The open, extended posture gives the figure an airy, outward-directed energy.
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No. 247
Two models, blue-grey and orange
A blue-grey painted figure beside a second, sketched in orange chalk. On the left stands a figure built up entirely in cool, blue-grey paint layers, the face barely indicated. On the right a second, much warmer figure contrasts, consisting largely of loose orange chalk lines, with a small red accent at the mouth. The temperature difference between the two figures gives the sheet a strong, twofold tension.
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No. 248
Model, green pink soft
Reclining figure, soft in green and pink, with dark contour lines. The body is surrounded by a dense cloud of green pencil scribbles, swarming around the form like grass or shrubbery. At the head, a small blue and red accent gives just enough colour to anchor the face. A warm, sand-coloured mark at the torso breaks the predominantly green tone. The soft, spontaneous linework gives the figure a light, almost fleeting presence.
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No. 249
Seated, leaning forward model
In a few strokes the head, torso, arms and legs are rendered. The whole forms an apt rendering of this pose.
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No. 250
Model in yellow/green
On hands and knees, sketchily set down and elaborated with a few accents on the hands and feet.
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No. 251
Model study
Vague, almost vanishing figures with accents on the faces. A blue line on the left suggests a hip and an extended leg. The faces are somewhat more elaborated.
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No. 252
Model, olive cream sienna reclining
Reclining figure in olive and cream, sienna chalk lines. The body is kept largely white and cream-coloured, with a compact, colourful mark of yellow-green and red at the torso functioning as a knot of energy in the composition. Sienna and brown lines loosely and sketchily frame the rest of the form. The contrast between the calm, pale surroundings and the vivid colour concentration gives the sheet a focused, almost magnetic attention.
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No. 253
Model, brown blue chalk minimal
A very minimal abstract study in brown and blue chalk lines. The head, with a small blue accent, is sketched compactly at the top, while the body extends in a series of loose brown lines barely suggesting a form. On the right a long, blue-black chalk line winds through the sheet as a separate, almost independent movement. The sobriety and emptiness of the composition give it a withdrawn, contemplative quality.
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No. 254
Model, fresh green sienna
Reclining figure in fresh green, sienna contour line and a red accent. The body is built from broad, fresh green brushstrokes, crossed by thin dark brown sienna lines indicating the shape of arms and legs. A small red accent at the bottom breaks the predominantly green palette. The fluid, wet paint technique gives the figure a lively, almost growing quality.
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No. 255
Model, cream sober maroon line
Sober seated figure in cream, with a single maroon accent line. The body is built up with a pale, even layer of cream-coloured paint, the hair in warm ochre-brown tones. A single, thin maroon line accentuates the shoulder and arm, with small orange details at the torso. The extreme sobriety and the almost monochrome character give the figure a quiet, restrained elegance.
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No. 256
Kneeling model with raised leg in paint and chalk
Seated on one leg, the other raised, rendered in a haze of green — the contour lines slightly darker, with an orangey accent.
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No. 257
Two models, blue-grey and orange chalk second
Another composition with a blue-grey figure and a second in orange chalk. On the left stands a figure in cool blue-grey paint layers, the face accented with red lips. On the right, partly overlapping, a second figure is sketched with red-orange hair and an outfit of dense orange chalk lines. The two figures share the sheet in a close, almost intimate composition, the warm and cool colour temperatures playing against one another.
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No. 258
Model, soft green pink reclining
Reclining figure, soft in green and pink, with dark contour lines. The body lies stretched out in a fan of soft grey-green and pink tones, with a small red accent at the torso. A thin, dark line frames the arms and legs, while a brown, drawn branch closes off the composition on the right. The soft, wind-blown colours give the figure a delicate, almost softened presence.
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No. 259
Model study in pink and green
A dynamic composition in pink and green, with an orange accent at upper right.
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No. 260
Two models, ochre yellow and pink
A figure in ochre yellow drapery beside a second, in pink with a red contour line. On the left kneels a figure with dark hair, dressed in a dense, yellow-green drapery with a blue-green accent at the arm. On the right a larger figure dominates in soft pink and brown tones, with a vivid red contour line framing head, torso and leg. The two figures, in very different colour registers, share the sheet without touching.
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No. 261
Model, sparse blue orange seated
A sparse, pale seated figure with blue and orange chalk accents. The body is almost entirely transparent, with only a warm, ochre-coloured head and a few green lines indicating the torso. Blue paint accents at the shoulders and a vivid orange-red line along the leg give the only concentrated colour. The extreme transparency and the sparing use of colour give the figure a ghostly, almost vanishing presence.
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No. 262
Model study
Composition in patches and lines that complement each other remarkably: a raised leg in vivid green, a sketched upper body, a protruding elbow and an orange thigh. Note the accents on the head and chest on the left.
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