biography anchor



1949 Eindhoven

Died 2009 in Wieringerwaard (Anna Paulowna)

1984 Gerrit Rietveld Academie Amsterdam, The netherlands
2005 Initiator Galerie Kadijksveste in Amsterdam, The Netherlands.

Photo portrait left-Herman van Staalduinen by Bert Kommerij

‘Painting is not only painting, but also thinking. ‘I can only think for days with a painting in front of me without actually doing anything with it. But when I finally take up the brush, I know that it has to be quick and right. ‘ Painting by Herman van Staalduinen looks much faster and more dynamic than it arises. A first acquaintance with this expressionist painting itself is overwhelmed and immediately requires the isolation of a single copy in order to understand and enjoy everything that happens in it. Each canvas has its own agile and fast, colorful interplay of lines, which you take along to a core, which is about a beauty of moody pasty painted purple, orange accents or just lucid transparencies, a beautifully worked-through skin, a sense of composition, atmosphere and a not too theatrically imposed, but all-defining content. ‘Because a canvas has to be about something,’ says Van Staalduinen.
Van Staalduinen graduated from the Rietveld Academy in 1984. Due to the moody tones, his early work was similar to Breitner’s. The paintings would evolve into a brighter and more intense palette. The heavy lines and drama evoke comparisons with the art of Edvard Munch. His moody use of color and paint skin made many people mention names like Bonnard, Soutine or Kokoschka. The distorted man naturally led to Francis Bacon, but despite all the comparisons, Van Staalduinen says that he wants to keep everything far out of the picture so as not to distract the development in his work.

Paintings by this painter can have titles such as “Dialogue”, “Undercurrent”, “Hard / heart”, “Introspection” and “Interval”. They are extremely charged with communication and in particular the inability of man to approach the other person “Trage Heads” is a series of heads drawn only in black and white, made in 1991. The heads, the most recognizable figurative, but also seen as a beautiful mobile interplay of lines, tell about a stalled head. On, the communication came to a standstill, at a dead end.In the canvas ‘Dialogue’ we also recognize the recurring human figures, but stylized and tucked almost too far away in islands of beautifully swirling lines and shapes, the message is again here. Obviously, every individual in van Staalduinen’s paintings must fight hard to be seen literally and figuratively.Getting lost on the beautiful islands is possible in all this painting.
Van Staalduinen is not the artist who tries hard to connect with the currents that have produced art history or makes serious attempts to keep up with prevailing trends and fashions. He works fairly isolated, did not bother to settle into the good gallery circuit in recent years. His work is not often seen. In the past fifteen years, the artist has developed from a fairly careful taste of what painting is to a painting that puts everything at stake on a bright, lively, expressive and daring basis. The most recent paintings show a painting that stands like a house, because the painter knew what he was doing. They are therefore curious about how this diary will be further painted.

Thanks to Mrs. Thea Figee and Kunstbeeld. Source: Art statue (No. 10, 1999)
The painter Herman van Staalduinen passed away November 27, 2009.


Mediated by Foundation Art & Communication ( ArtCircle, ArtCommunication and The ArtCommunicators )

-Bank of Building Industry, Amsterdam, The Netherlands
-Gipsbouw, Utrecht, The Netherlands
-CSM Suiker, Amsterdam, The Netherlands
-IGS/Van Pol, Amsterdam, The Netherlands
-SmitsAir Uithoorn, The Netherlands
-Graydon, Amsterdam, The Netherlands
-Foundation Praemium Erasmianum, Amsterdam, The Netherlands
-European Culture Foundation, Amsterdam, The Netherlands
-Mac Cann-Erickson, Hoofddorp, The Netherlands
-Weka Publishers, Amsterdam, The Netherlands
-Vroom & Dreesman, Amsterdam, The Netherlands
-TU Delft, Delft, The Netherlands


-Start 84, Apeldoorn, The Netherlands

-Emina Swaen de Fonteyn, Lelystad, The Netherlands
-Gooijer Gallery, Amsterdam, The Netherlands

-Open Ateliers Westelijke Eilanden, Amsterdam, The Netherlands

-Galerie Schoots, Eindhoven, The Netherlands
-Gooijer Gallery, Amsterdam, The Netherlands
-Galerie 86, Amsterdam, The Netherlands

-Gooijer Gallery -Solo-, Amsterdam, The Netherlands

-Studio Overtoom 284 I, Amsterdam, The Netherlands

-Gooijer Gallery, Amsterdam, The Netherlands
-Galerie De Genestet, Bloemendaal, The Netherlands

-Galerie Vlasblom, Arnhem, The Netherlands
-KUMA, Kunstmanifestatie, Amsterdam, The Netherlands

-Galerie Vlasblom, Arnhem, The Netherlands
-CSM, Diemen, The Netherlands

-De Nieuwe Slof, Beverwijk, The Netherlands

-Galerie Vlasblom, Arnhem, The Netherlands
-Open Ateliers Oostelijke Eilanden, Amsterdam, The Netherlands

-Galerie Vlasblom, Arnhem, The Netherlands
-Jos Art Galerie, Amsterdam, The Netherlands
-Galerie Maria Hoeve, Ana Paulowna, The Netherlands
-De Oosterkerk, Amsterdam, The Netherlands
-European Patent Office, Rijswijk, The Netherlands
-Open Ateliers Oostelijke Eilanden, Amsterdam, The Netherlands

-Jos Art Galerie, Amsterdam, The Netherlands


-Tableau,ArtMagazine:Article of Chris Reinewald, The Netherlands
-Avant Garde, Lifestyle Magazine : Article of Carla Scheffer, The Netherlands

-ArtMagazine Kunstbeeld, Nr 10-1999 Article by Raymond Baan about Herman van Staalduinen.

-YouTube-Opening Expositie Hernan van Staalduinen by Leo Schatz on 20 Sept. 2009


-Printed Book by Raimond Baan about Herman van Staalduinen 1949-2009: 25 Years Painting and drawings

-Newspaper Noord Hollands Dagblad:Article “Kunst & Kippesoep” about dead of Herman van Staalduinen