After several years of concentrating on small sized paintings theresa rijssenbeek is now back painting large scale oils on canvas. Nature is her principal source of inspiration, varying between the abstract and the expressive.
With her latest large oil paintings on canvas "STRUCTURES", the artist investigates the structure, repetition and rhythm observed in nature. The colours have consciously been kept restrained.
She works on beautiful heavy weight sheets of paper, the pen drawings centred, depicting what fascinates her. The delicate drawings require scrupulous concentration.
Oil on paper: often as a preparatory study for the large canvases completed in her Dordogne studio, France.
Born in the Netherlands, 1951, theresa rijssenbeek spends a large part of her youth near the North Sea coast. Dunes, woods and the sea are the setting of her early life. She draws what she admires. When she lives for three years on the tropical island of Curacao (late 70’s) she is overwhelmed by the colours and nature. She starts painting using oil and water paint. Her first exhibition is a great success. Back in the Netherlands she studies at the prominent Royal Academy in The Hague and becomes lifelong friends with head of department Rien Bout who also coaches her. Her professional career as a painter begins in 1990, with yearly exhibitions. The city of Delft commissions a 10 metre high mural painting in a housing project. Not much later, theresa’s work is also seen on Dutch television.
She becomes fascinated by portrait painting leading to many commissions. In 1998 theresa rijssenbeek moves to central France and continues painting. Since 2009 she lives and works in Switzerland. She also spends part of the year in the Dordogne in the southwest of France, working in a new, large, airy and light studio. Here her latest large size oil paintings series (‘Structures’) is conceived.
Article in La Stampa (Italian newspaper, published June 2nd 2018)
Article in Il Biellese (Italian newspaper, published June 8th 2018)
Looking and seeing – thoughts on the work of Theresa Rijssenbeek
Why paint? In all its simplicity, still a difficult question. In an age when images appear in thousandfold at the simple touch of a smart screen, why toil with a brush, pencil or pen? For the painter, however, it is not a question at all. They know why. The answer comes to them over and over again, every time the brush touches the canvas and the miracle of creating an image is repeated. But the non-painter keeps on searching. Perhaps you feel the simple autonomy of the painting, yet still you look for language to make that autonomy comprehensible. As if fascination with the painting itself is not enough. It has been my task for years to find those words, in this case language to encapsulate the work of Theresa Rijssenbeek.
Museum of Modern Art (Stedelijk Museum) Schiedam, the Netherlands.
On one hand interpreting reality, on the other hand leaving out elements, focussing on the painting’s very essence; in my opinion this is the pictorial power of her work.
Amongst the various trends in Dutch and international arts theresa rijssenbeek occupies a special place with work that can only touch us.
Hans Paalman 1996
Asked to write an article about theresa rijssenbeek’s paintings I agreed, albeit not without trepidation, for I am no art historian, but a poet. The art historian in his analysis of works of art has at his disposal an arsenal of terminology and jargon, which often results in a baffling pot-pourri for the layman.
Four years ago, when I was asked to define my feelings about theresa rijssenbeek’s artistic achievement I was immediately struck by the interplay of poetry and rhythm; sensuality and lyricism. The synopsis suggested that a tension was afoot, unresolved as yet, but brooding behind the elements of darkness and light and the juxtaposition of colour and form.
‘I approach portraits in the traditional way, layer upon layer and realistically painted. It takes time, I need to feel a connection with the model. I listen, observe and paint. As a result, the portrait is very authentic.’
Commissions:
Theresa rijssenbeek takes commissions for painted portraits. The model needs to be available to pose for seven one-hour sessions. In this way the portrait takes shape and the model will recognise him or herself, in appearance and character.
For more information please contact theresa.rijssenbeek@gmail.com
| The Netherlands | |
| 1990 | Gallery Biervliet, Amsterdam |
| 1991 | Gallery Kadans, The Hague |
| 1992 | Doddendael Manor, Ewijk |
| 1993 | Schoonhoven in ‘t Veld, Amsterdam |
| Mural commissioned by the city of Delft | |
| 1994 | Gallery Kadans, The Hague |
| City and Art, The Hague | |
| 1995 | Brainbox, Schiphol Airport |
| 1996 | Gallery Kunst, The Hague |
| Selected for Dutch tv broadcast ‘Kunst te Kijk’ | |
| 1997 | W.B.N. Utrecht, Kapel Noordwijk |
| Rumke Groep, Den Dolder | |
| 1998 | Gallery Halfje Bruin, Brummen |
| Gallery Segeren, Breda | |
| Holland Art Fair | |
| 1999 | Gallery Kadans, The Hague |
| 2000 | Gallery L’art retrouvé, The Hague |
| 2002 | Gallery L’art retrouvé, The Hague |
| 2003 | Grunerie, Oegstgeest |
| Curacao | |
| 1980 | First exhibition Tempel Gallery, Curacao |
| Italy | |
| 2018 | Sordevolo / Biella |
| 2010 | Ivrea Italia “c/ostruzioni” |
| France | |
| 2003 | Art Fair, Chateauroux. |
| Le lavoir, Diou. | |
| 2004 | Office du Tourisme, Lignières. |
| Musée des Cordeliers, Chateauroux. | |
| 2005 | Art Fair, Saint Florent. |
| Chapel St. Solange, Chateauroux. | |
| MEBAC, Mezières en Brennes. | |
| 2006 | Town hall, Chateauroux. |
| Art fair, Issoudun. | |
| Atelier, La Châtre. | |
| 2007 | Hotel de Villaines, La Châtre. |
| Château de Villemenard, St Germain du Puy. | |
| Autumn Fair Issoudun | |
In France, theresa rijssenbeek creates her oil paintings in her new Dordogne studio overlooking a small valley. Here she also works on portrait-commissions.
In Switzerland, she creates meticulous pen drawings in her studio with cool north light and views of a mountainside.
Copyright © 2018 | Theresa Rijssenbeek
Support by Studio la Brame
