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Henk Peeters The Hague, 08 - 12 - 1925
Training: Koninklijke Academie voor Beeldende Kunsten, The Hague
1957 - 1972: lecturer at the Arnhem Academy
1958 - 1960: fundeer of the Dutch Informele Group, together with Kees van Bohemen, Jan Henderikse, Armando and Jan Schoonhoven.
1958 - heden: numerous exhibitions by Peeters, especially within the context of group exhibitions, boot national and international (see list of exhibitions for full survey)
1960 - 1965: founds the NUL group together with Armando, Jan Henderikse and Jan Schoonhoven.
1965 (on a Monday morning): Peeters puts all his remaining work of art, as far as still in his possession, in the garbage.
1997 - heden: the'Koetekendagen' (Cow sketching days) (1997) in Galerie de Boer-Waalkens herald a new era in his work: 'Henk Peeters Tastbaar'.
Henk Peeters lives with his wife, photographer/visual artist Truus Nienhuis, at Leusveld House, Hall, Gelderland.
K. Schippers wrote about Henk Peeters at the occasion of an exhibition (1974) in the Collection d'Art gallery:
'Hairs and cotton wool date from later period of our history. And such materials as plastics and artificial grass are only recent additions to our environment.
Peeters has basically done on more than slowing us his personal choices. Water was wrapped, light was allowed its reflection, and the effects of fire remained visible, even after the flames themselves has been extinguished.
Cotton wool disappeard - but remained visible - behind nylon tissuue, hairs were somethimes incorporated in a ponytail, and the artificial grass was stretched over a piece of board.
Peeters has somethimes been characterized as the least conspicuuous member of the Nul group. And in a sence this is true. Armando drew attention through the audacity of this bolts, barbed wire and clinched metal sheets. Schoonhoven excelled in thuis command of white, light and shadow. And even Jan Henderikse made, during his brief period as a member of the Null Group, a striking impression with his beer crates and sheets of stamps, series of endless repetitions that had clearly been taboo until then.
Looking back, it seems as if Peeters with his soft materials, without drama or affectation, has remained closest to the conspiucuous reality of everydag life, without any attempt at storytelling. No personal histories, nor the usual didactics like 'come and see what you have never seen before'. And although the latter can hardly be entirely avoided, it is clear that Peeters must have made a conscious attempt to do so.
When looking at one of Peeters' reflection paintings or cotton wool pictures, pyrographies or artificial grass boards, this becomes abundantly clear.

De NUL-groep in 1961  
Groupphoto of the Nul Group at the exhibition
'Avantgarde '61' in Trier.
From left to right: Jan Henderikse, Jan Schoonhoven,
Armando en Henk Peeters.
Photo: Hermann Bartels.
 
Pirografie, 1959. Nr. 59-18, prototype formerly in the possession of the Instituut Collection Nederland but now lost, replica 1996.
Burn holes in foam rubber, 80 x 75 cm.

 
Henk Peeters occupied in filling a sarcophagus with angel's hair (glassfiber) in the Allard Pierson Museum for exhibition 'Egypt seen through the eyes of artists', Amsterdam 1986.
 
'Watjes', 1960. Nr. 60-07, 80 x 100 cm.
Collection Pieter Engels, Amsterdam.
 
"At first sight the image conveys so little meaning that, no matter how hard one tries, it seems to evade the memory before one has even had the change to look at it closely.
This leands his work a strange and special tension. For a moment we become aware of the real lack of attention with whiche we usually look at our surroundings, how we are only struck by the most spectacular events."...
'How now looks at his work, cannot fail to notice the considerable impact which Nul (or in this case Peeters) has had on the later generation of painters of Boezem, Dibbets and Van Elk. As to Peeters himself, for him Nul became a real advernture when it seemed the there might be a transition from objects to situations. However, the group broke up before this was put in practice. The plans were there, even in the early days, when Peeters intended to fill the Amsterdam Stedelijk Museum with artificial fog. However, to do so would have involved enorous quantities of paraffin and Sandberg was rather too concerned about his Van Gogh"...

 
Nul Group with Hans Sleutelaar (center), Galerie Bébert Rotterdam, 1989.
Overhemd 'GabriŽl', 1987  
Shirt 'Gabriël', 1987
 
Pure and inspired - such would be fair description of Peeters' work. Personally, he has now lost touch with this phase. "Te be quite honest, I have come to prefer the newspaper to the Museumjournaal.
In the end real life is more interesting than art.
This is where Nul once started. It is a natural conclusion that it should also end there. Perhaps I have been the most consistent realist within the Nul movement. For me, in the end, art and life are really one and samen thing. And than you ask yourself what is there left to make after all? It is already there, isn't it?"

Bibliography
Alphen, Jacques van, Gesprek met Henk Peeters, Gazet (uitgave Galerie Parade), jan.2002
Beerkens, Lydia, Remakes of Henk Peeters, Tate papers / Nothing but the real Thing,
-- http://www.tate.org.uk/research/tateresearch/tatepapers/07autumn/beerkens.htm, 2007.
-- For the benefit of science/the restauration of the work of Henk Peeters, in Modern art: who cares? pp 42-59. Amsterdam 1999
Artfacts. www.artfacts.net/en/artist/henk-peeters.
Blom, Mariëtte. Henk Peeters over Nul en Meer. Eerbeek 2003 (www.marietteblom.nl).
Boezem, Marinus. Henk Peeters. Museumjournaal nr.16/2, april 1971
Brummel, Dik. Henk Peeters: wij zijn zo nodig. In 'De nieuwe sekstant/NVSH', Den Haag, juni 2006.
Ciuraj, Melanie en Kappers, Jan. Liefde voor de kunst. In: Kunstlicht 27-4, uitg. VU-Amsterdam 2006.
Garrel van, Betty, Er is alleen buitenkant. NRC-Handelsblad 21.4.00 en (dezelfde tekst):
-- Henk Peeters vijfenzeventig, foto's Truus Nienhuis, Hall 2000.
Groenhart, Barbara. Vertrekpunt Nul, Centraal museum Utrecht 1989.
Groot, Corinne, Henk Peeters, bij 'erelid GBKN', Biënnale Gelderland 1994.
Halem van, Ludo. (in:) Nederlandse kunst vanaf 1900. Teleac, Utrecht 1996.
Hartog, Arie. Einführung zur Ausstellung Galerie im Winter, Bremen 1999.
Heijnsbroek, Fons. 'Citaten van de kunstenaar', www.dekunsten.net
Kappers, Jan. De nul-relaties. In: Kunstlicht 27-11, uitg. VU-Amsterdam 2006.
Koplos, Janet. Reign of feathers. Inleiding bij videotape 'Rain of feathers'. Uitg. Bifrons foundation, Amsterdam 1999.
-- Laugh lines, report from Holland, in Art in America, May 2000
Knaap, Marike van der. 0=nul. Gallery James Mayor, London 2007. Engelse vertaling
Kuhn, Anette. Zero. Propyläen Verlag, Berlin 1991.
-- Zero, eine europäische Avantgarde. Galerie Neher, Essen 1992.
Kunst van nu, encyclopedisch overzicht vanaf 1960. Uitg. Elsevier, Amsterdam 1971.
Lodermeyer, Peter. Conversation with Henk Peeters. In 'Personal Structures'. Uitg. Dumont, Keulen 2009.
Mechelen van, Marga. Over Nul / Zero en Henk Peeters, In: De Nieuwe, Arti et Amicitiae ,Amsterdam 2008.
Nienhuis, Truus. Henk Peeters vijfenzeventig. Hall, tekst Betty van Garrel. 2000.
Nymphius, Friederike. Henk Peeters. In: in Minimalism and After / Daimler collection, Ostfildern 2006.
Peeters, Henk. Looking back, http://www.borzo.com/expositions/past/nul0_1
Peeters, Mark. Ex plumis cognoscitur avis. In 'Henk Peeters, tastbaar'. Uitg.Sun, Nijmegen 1998.
Peters, Janny. Ik ben zelf kunst. Vijftig jaar G.B.K., Arnhem 1997.
-- Nul en de Informele groep. Skriptie Kunsthistorisch Instituut Utrecht, 1975.
Ridder, Willem de, Schippers, Wim T. Signalement. Vara tv.
Rodrigo, Evert > Beerkens, Lydia, Modern art: who cares? Amsterdam 1999.
Schippers, K. Een chèque voor de tandarts. Uitg. Querido, Amsterdam 1967.
Sperone - Westwater Gallery, ZERO NY, tent. katalogus, New York 2008.
Stigter, Diana en Tegenbosch, Pietje. Henk Peeters, Nul lebe hoch. Nul, Edition Cantz, Stuttgart 1993.
Sluysmans, Christine. Eén groot oog. In: Re:ZERO=0, Arti et Amicitiae, Amsterdam 1998.
Verschaeren, Hedwig. Nul, Nederland. In 'Zero Internationaal Antwerpen', Antwerpen 1979.
Visser de, Ad. De tweede helft, beeldende kunst na 1945. Uitg. Sun, Nijmegen 1998.
Wagemans, Fred. Henk Peeters, tastbaar. Uitg.Sun, Nijmegen 1998.
Weelden van, Leen. Inleiding Henk Peeters. FlevoCahiers nr.10, Harderwijk 2007.
Wesseling, Janneke. Alles was mooi, een geschiedenis van de Nul-beweging. Uitg. Landshoff/Meulenhoff, Amsterdam 1989.
Wiehager, Renate e.a. Die niederländische Gruppe Nul. Edition Cantz, Stuttgart 1993.
-- Minimalism and After / the DaimlerChrylser Collection, Peeters, Ostfildern 2006.
Wikipedia.
Wikiquote.
Wilbrink, Jos. De Nul-beweging; illusieloos idealisme. In: Kunst en beleid, Boekmanstichting. Amsterdam 1991.
- Winkler Prins encyclopedie, Amsterdam 1964.
Zimmer, Nina. Spur und andere Künstlergruppen (w.o.Nul), Edition Reimer, Berlijn 2002.

Internet
www.artfacts.net/eu/artist/henk_peeters
www.dekunsten.net/dk-citatenabstractekunst
www.henkpeeters.nl
www.personalstructures.org
www.wikipedia.org/wiki/Henk_Peeters
www.wikiquote.org/wiki/Henk_Peeters