Hesselius Jacobus
Henrik (Henk) Hesselius, born in Amsterdam in 1927, contributed greatly to the world of art. He was an original personality, never hesitant to express his opinions, sometimes mistaken, always at the forefront, a reliable and persistent organizer, and much more. In the following text, Leontine Koelewijn mentions him. As the man, so is his work. In my opinion, all these aspects of his personality are the result of an excess of energy. Taking on the task of maintaining group unity and fighting for exhibitions was well within his capabilities. But it didn’t consume him. Over the years, he dedicated himself to programming and working at the Heineken Gallery on Ferdinand Bol Street
A significant contribution to this text is made by a brewery representative, expressing their gratitude. For the Fodor Museum, the primary reason for this joint presentation of paintings, sculptures on pedestals, garden sculptures, and a specially created sculpture for the hall is what can justifiably be called an opus. This opus spans 74 years and encompasses decades and various movements. Free expression, figurative art, tactility, three-dimensional drawing, abstraction, and simplification—thanks to this variability, a recognizable style is maintained.
Particularly captivating is a group of paintings from the first half of the 1970s. Unrestrained stories of color burst from very flatly painted geometric forms. Without these matte lines and surfaces, this free form, extending beyond the canvas like a malleable piece of color, would simply vanish. In the context of restrained forms, Hesselius' unique character emerges. (Fred Wagemans).
Through his distinctive path, Hesselius (born in Amsterdam in 1927) entered the world of art. Before studying in the painting department of the Royal Academy of Fine Arts in Amsterdam, he had already received an education in mechanical engineering at the Technical Secondary School. In his free time, he painted. His neighbor and friend, Corné, inspired him to enroll in the academy. There, he studied from 1945 to 1947 under Professor W.H. van den Berg. Immediately after graduating from the academy, he frequently went out with artist friends to paint urban landscapes on craft paper, mounted on plywood to create sketchpads.
At that time, artists used Swedish cardboard for painting, distributed by the director of the Amsterdam Stedelijk Museum, Willem Sandberg. Rumor had it that when Sandberg saw Hesselius again in line for a pack of Swedish cardboard, he was surprised and asked, "Haven't I seen you here before?" Hesselius worked extensively. After producing quite a few academic portraits and still lifes, the first abstract compositions began to emerge.
Particularly captivating is a group of paintings from the first half of the 1970s. Unrestrained stories of color burst from very flatly painted geometric forms. Without these matte lines and surfaces, this free form, extending beyond the canvas like a malleable piece of color, would simply vanish. In the context of restrained forms, Hesselius' unique character emerges. (Fred Wagemans).
Through his distinctive path, Hesselius (born in Amsterdam in 1927) entered the world of art. Before studying in the painting department of the Royal Academy of Fine Arts in Amsterdam, he had already received an education in mechanical engineering at the Technical Secondary School. In his free time, he painted. His neighbor and friend, Corné, inspired him to enroll in the academy. There, he studied from 1945 to 1947 under Professor W.H. van den Berg. Immediately after graduating from the academy, he frequently went out with artist friends to paint urban landscapes on craft paper, mounted on plywood to create sketchpads.
At that time, artists used Swedish cardboard for painting, distributed by the director of the Amsterdam Stedelijk Museum, Willem Sandberg. Rumor had it that when Sandberg saw Hesselius again in line for a pack of Swedish cardboard, he was surprised and asked, "Haven't I seen you here before?" Hesselius worked extensively. After producing quite a few academic portraits and still lifes, the first abstract compositions began to emerge.
Королева Голландии Биотрикс
At the age of 22, with his abstract paintings and painted plaster sculptures, Henk Hesselius held his first solo exhibition at the Van Leer art hall on Rokin in Amsterdam in January 1949. His introduction to Van Leer came through close ties with the Experimental Group, the Dutch predecessor to Cobra, with Constant, Appel, and Corneille. Henk himself did not feel the need to join any group or movement, though his work from those years shows a strong affinity with the playful directness and exuberance of the Experimentals.
In addition to gouaches, oil paintings, and plaster sculptures, he also created assemblages from painted pieces of wood and wire, as well as painted on ceramics. His exhibition at Van Leer was noticed by art critics from various newspapers, with particular praise for his use of color and emotionality. That same year, Henk participated in two group exhibitions: "Young Artists" at the Stedelijk Museum and the World Exhibition in Berlin.
After this promising start, he suddenly withdrew from the art world. This did not mean he distanced himself from visual arts; after working as a taxi driver, he continued to work in his studio on Nieuwe Prinsengracht. His paintings evolved towards increasingly whimsical and expressive abstraction. The restrained patches of color gave way to rapid lines. These paintings, devoid of any imagery and built from wild splashes and stains, can be compared to the international movement known as "Tachisme."
Parallel to this development, starting in 1956, he began creating wall sculptures from zinc sheets, which were manually cut, bent, scratched, and soldered. These plastic works are a three-dimensional reflection of what was happening on the canvas during that period. In 1958-59, he started producing monotypes. He composed works from various materials such as ropes, leaves, and ink on an etching plate, then made a single print. From this graphic activity arose wire sculptures, which he regarded as "drawings in space."
In addition to gouaches, oil paintings, and plaster sculptures, he also created assemblages from painted pieces of wood and wire, as well as painted on ceramics. His exhibition at Van Leer was noticed by art critics from various newspapers, with particular praise for his use of color and emotionality. That same year, Henk participated in two group exhibitions: "Young Artists" at the Stedelijk Museum and the World Exhibition in Berlin.
After this promising start, he suddenly withdrew from the art world. This did not mean he distanced himself from visual arts; after working as a taxi driver, he continued to work in his studio on Nieuwe Prinsengracht. His paintings evolved towards increasingly whimsical and expressive abstraction. The restrained patches of color gave way to rapid lines. These paintings, devoid of any imagery and built from wild splashes and stains, can be compared to the international movement known as "Tachisme."
Parallel to this development, starting in 1956, he began creating wall sculptures from zinc sheets, which were manually cut, bent, scratched, and soldered. These plastic works are a three-dimensional reflection of what was happening on the canvas during that period. In 1958-59, he started producing monotypes. He composed works from various materials such as ropes, leaves, and ink on an etching plate, then made a single print. From this graphic activity arose wire sculptures, which he regarded as "drawings in space."
"De Drie Hendricken" (20.04.1961)
Henk Hesselius "debuted" again in 1961 at the age of 34, with an exhibition of paintings, gouaches, monotypes, and metal objects at the Amsterdam gallery "De Drie Hendricken." This exhibition was met with even more enthusiastic press reviews than his first, twelve years earlier. Hans Redeker wrote in Handelsblad (April 20, 1961) about "a unity that reveals a strong personality" and "a healthy, pure honesty, a fresh spontaneity." B. Oppers noted in Volkskrant (April 22, 1961) that Hesselius "expressively and vividly conveys spring’s sparkling qualities." After this exhibition, many others followed, both domestically and internationally.
Hesselius' paintings from the 1960s were energetic, vibrant, and reflected a strong drive for direct expression. On a monochrome background, rapid, broad strokes were applied with a palette knife. Immediacy played a key role in his work.
His sculptures from this period, starting around 1965-1966, were cut from thin steel plates, bent, folded, welded, and painted matte black. Critics often referred to these sculptures as "infernal machines." Some bore a resemblance to real objects, especially animals and machines. He even named some of them accordingly, such as "Toy," which resembled a head with a beak and ribs. At the same time, this sculpture evoked a mechanical toy due to the four wheels he installed at the base of the structure. Other sculptures resembled humanoid machines, like the first sculpture he created on commission for the RAI in 1970.
In Hesselius' paintings from the 1970s, a new element appeared—geometric lines and frames that took their place alongside expressive compositions. The work now consisted of two highly contrasting elements: strict, precise lines and bold, expressive blurs. Hesselius viewed these frames as lines between which events occur, tensions arise, or, conversely, subside. The introduction of these geometric frames was also a means of visualizing the contrast between abstract concepts such as "freedom" and "restriction." Hesselius always saw the possibility of breaking free from rigid frames and rules, injecting living energy into his works.
His sculptures from this period, starting around 1965-1966, were cut from thin steel plates, bent, folded, welded, and painted matte black. Critics often referred to these sculptures as "infernal machines." Some bore a resemblance to real objects, especially animals and machines. He even named some of them accordingly, such as "Toy," which resembled a head with a beak and ribs. At the same time, this sculpture evoked a mechanical toy due to the four wheels he installed at the base of the structure. Other sculptures resembled humanoid machines, like the first sculpture he created on commission for the RAI in 1970.
In Hesselius' paintings from the 1970s, a new element appeared—geometric lines and frames that took their place alongside expressive compositions. The work now consisted of two highly contrasting elements: strict, precise lines and bold, expressive blurs. Hesselius viewed these frames as lines between which events occur, tensions arise, or, conversely, subside. The introduction of these geometric frames was also a means of visualizing the contrast between abstract concepts such as "freedom" and "restriction." Hesselius always saw the possibility of breaking free from rigid frames and rules, injecting living energy into his works.
For many years, he led this society, starting as chairman and later serving as treasurer. Hesselius was also a member of the Federation Council for ten years and served as vice president for several years. He devoted much time and energy to showcasing the work of fellow artists, organizing exhibitions in Amstelpark (1975, 1978, and 1981) as well as in the Noorderkerk and Westerkerk.
Along with other members of the Dutch Circle of Sculptors, he co-organized exhibitions in Den Helder, Lochem, Roosendaal, Wageningen, and on the "Midwood Route." "Creating a joint play with works, building a total theater—this is undoubtedly creativity, but in space." He has been actively involved in organizing the Heineken Gallery in Amsterdam for over 25 years. He is responsible not only for selecting artists but also for overseeing and arranging exhibitions.
Hesselius' paintings from 1972-1974 went through a certain evolution, which ultimately led to the completion of this phase. Geometric frames became increasingly important compared to the expressive brushstrokes. When these frames finally defined the entire painting, Hesselius believed he had taken the final step.
In 1974, Hesselius stopped painting and fully transitioned to sculpture. Alongside his works on two-dimensional surfaces, there had always been sculptural pieces; early on, these were plaster and wire sculptures. After a period (around 1965-1966) of creating sculptures from scrap metal, he decided in 1971 to start working with more durable steel, cutting shapes autogenously (i.e., with gas) from sheets. From about 1972 to 1974, when his paintings became defined by geometric frames, Hesselius changed the direction of his sculptural work.
Playfulness and openness gave way to clear simplicity and mathematical precision. He reduced the form language to strict minimal abstraction and limited the color palette to white and sometimes light yellow. A series of monumental works emerged (including two commissions for Martin Luther King Park in Amsterdam in 1972 and for the Ford/Entam office in Amsterdam in 1974) that were closely connected to his paintings. Here, too, geometric, open and closed frames are present, now three-dimensional, in the form of intersecting beams.
Due to their rigid industrial appearance and precise construction, these works seem associated with minimalism. However, through their titles, Hesselius linked his works to human actions or the situations they embody. For example, the sculpture with yellow horizontal beams rising upward along vertical beams relates to forms of growth, sometimes fast, sometimes slow. Themes such as equilibrium, balance, and carrying are often present in his works; the process of creating sculptures is a slow one, starting with a theme or concept.
"For me, the process of creating a sculpture is important," says Hesselius. "First comes the idea, the thought, then the first movements in space, then the cutting and shaping of all the details that can contribute to the whole. Then comes the moment when you consider the work complete. And finally, the transfer—this is the essence."
The craftsmanship of sculpture plays a crucial role for Hesselius. Although he was self-taught as a sculptor, he has always been responsible for the design and execution of his sculptures. He never delegates the execution to anyone else because he wants the ability to make changes at that stage. To produce large steel sculptures, he built his own workshop in 1978 and equipped it to work with various cutting and welding techniques, such as plasma cutting, autogenous, electric, and CO2 welding.
Along with other members of the Dutch Circle of Sculptors, he co-organized exhibitions in Den Helder, Lochem, Roosendaal, Wageningen, and on the "Midwood Route." "Creating a joint play with works, building a total theater—this is undoubtedly creativity, but in space." He has been actively involved in organizing the Heineken Gallery in Amsterdam for over 25 years. He is responsible not only for selecting artists but also for overseeing and arranging exhibitions.
Hesselius' paintings from 1972-1974 went through a certain evolution, which ultimately led to the completion of this phase. Geometric frames became increasingly important compared to the expressive brushstrokes. When these frames finally defined the entire painting, Hesselius believed he had taken the final step.
In 1974, Hesselius stopped painting and fully transitioned to sculpture. Alongside his works on two-dimensional surfaces, there had always been sculptural pieces; early on, these were plaster and wire sculptures. After a period (around 1965-1966) of creating sculptures from scrap metal, he decided in 1971 to start working with more durable steel, cutting shapes autogenously (i.e., with gas) from sheets. From about 1972 to 1974, when his paintings became defined by geometric frames, Hesselius changed the direction of his sculptural work.
Playfulness and openness gave way to clear simplicity and mathematical precision. He reduced the form language to strict minimal abstraction and limited the color palette to white and sometimes light yellow. A series of monumental works emerged (including two commissions for Martin Luther King Park in Amsterdam in 1972 and for the Ford/Entam office in Amsterdam in 1974) that were closely connected to his paintings. Here, too, geometric, open and closed frames are present, now three-dimensional, in the form of intersecting beams.
Due to their rigid industrial appearance and precise construction, these works seem associated with minimalism. However, through their titles, Hesselius linked his works to human actions or the situations they embody. For example, the sculpture with yellow horizontal beams rising upward along vertical beams relates to forms of growth, sometimes fast, sometimes slow. Themes such as equilibrium, balance, and carrying are often present in his works; the process of creating sculptures is a slow one, starting with a theme or concept.
"For me, the process of creating a sculpture is important," says Hesselius. "First comes the idea, the thought, then the first movements in space, then the cutting and shaping of all the details that can contribute to the whole. Then comes the moment when you consider the work complete. And finally, the transfer—this is the essence."
The craftsmanship of sculpture plays a crucial role for Hesselius. Although he was self-taught as a sculptor, he has always been responsible for the design and execution of his sculptures. He never delegates the execution to anyone else because he wants the ability to make changes at that stage. To produce large steel sculptures, he built his own workshop in 1978 and equipped it to work with various cutting and welding techniques, such as plasma cutting, autogenous, electric, and CO2 welding.
"Airplane Arrow" 1983
In 1983, Hesselius created a prominent steel sculpture commissioned by the Amsterdam city council. For the district administration office, he installed a seven-meter-tall, precisely constructed "airplane arrow," cast by a giant hand from Meerwaarde. This form is highly recognizable and simultaneously holds the heart of Osdorp.
When Hesselius moved away from precise abstract constructions in 1984, he allowed himself much more freedom in choosing his form language; rectangles alternated with curved shapes, and flat surfaces were combined with twisted lines. His works began to incorporate more color, often with a lot of red or yellow alongside black.
Gradually, his plastic works became smaller and more playful, often crafted by hand. Some of the small sculptures were intended as scale models that could be enlarged multiple times.
When Hesselius moved away from precise abstract constructions in 1984, he allowed himself much more freedom in choosing his form language; rectangles alternated with curved shapes, and flat surfaces were combined with twisted lines. His works began to incorporate more color, often with a lot of red or yellow alongside black.
Gradually, his plastic works became smaller and more playful, often crafted by hand. Some of the small sculptures were intended as scale models that could be enlarged multiple times.
One of Hesselius' final public art projects was created in 1988, commissioned by the city of Amsterdam for the Prince Willem Alexander Manege on Gasperplas Lake. He stylized the figure of a rider on a horse to create a highly recognizable image. The bright red color only enhanced the effect.
In 1986, Hesselius returned to working with flat surfaces. He initially experimented with photo collages, creating dense compositions from images of his sculptures. By repeating the same form multiple times, he created rhythmic images. He then returned to painting. The expressiveness of his early paintings reemerged, but this time the colors were softer, and the paint was less thick, sometimes even transparent.
The most characteristic feature of his later works is the so-called "double images," consisting of several layers that often resemble cells or pavilions. Hesselius associates these sculptures with typical human situations, particularly with the numerous facades people create around themselves. He pays special attention to the surface. In these double sculptures, the inner field is made of a different material: brass or red copper.
For the Fodor Museum’s exhibition hall, Hesselius created a monumental "double image" based on the principle of "accessible inaccessibility." It emphasizes barriers, security, and protective measures that "are so annoying they deter people from approaching." This not only deprives the red figure in the "cage" of contact but also forces viewers to maneuver around the sculpture for a long time. A bright moment is the neon flame rising above the sculpture, indicating the possibility of contact with the outside world.
In 1986, Hesselius returned to working with flat surfaces. He initially experimented with photo collages, creating dense compositions from images of his sculptures. By repeating the same form multiple times, he created rhythmic images. He then returned to painting. The expressiveness of his early paintings reemerged, but this time the colors were softer, and the paint was less thick, sometimes even transparent.
The most characteristic feature of his later works is the so-called "double images," consisting of several layers that often resemble cells or pavilions. Hesselius associates these sculptures with typical human situations, particularly with the numerous facades people create around themselves. He pays special attention to the surface. In these double sculptures, the inner field is made of a different material: brass or red copper.
For the Fodor Museum’s exhibition hall, Hesselius created a monumental "double image" based on the principle of "accessible inaccessibility." It emphasizes barriers, security, and protective measures that "are so annoying they deter people from approaching." This not only deprives the red figure in the "cage" of contact but also forces viewers to maneuver around the sculpture for a long time. A bright moment is the neon flame rising above the sculpture, indicating the possibility of contact with the outside world.
