PhotoLexicon, Volume 9, nr. 19 (September 1992) (en)

Wim Noordhoek

Marga Altena

Abstract

In his endeavour to represent beauty, Wim Noordhoek viewed photography as a medium to be applied as he wished. In this creative vision, first priority was given to form, purpose, and expressiveness. In addition to his free choice of subject matter, Noordhoek was also known for his colour photography. He managed to achieve visually appealing results through the modest and conscious application of colour. Noordhoek knew better than anyone how to enthuse others, becoming tremendously popular in amateur photographers’ circles through his photography classes and lectures. Noordhoek was more greatly admired in Germany than in the Dutch photography world.

Biography


1916	On 16 September, Willem (Wim) Noordhoek is born in The Hague, as the third child of Abraham Noordhoek, travelling salesman in cigars, and Wilhelmina Adriana Rooy. He has a sister, Annie (1905), and a brother, Johan (1908). Willem’s mother dies six months after his birth. Shortly thereafter, his father marries Elisabeth Cornelia Beek. Wim Noordhoek has an unpleasant childhood. He has a difficult relationship with his father, who finds him too cavalier. Noordhoek attends the MULO (‘Meer Uitgebreid Lager Onderwijs’, a lower-level high school education).
1934	Noordhoek begins living on his own. He works for two years as a bank employee with Mendes-Ganz & Co. in The Hague. He attends the ‘Eerste Nederlandse Vrije Studio, Escher Surry’ (‘First Netherlands Free Studio’), a studio in The Hague where artists can draw from life models. He works there with Christiaan de Moor and Kees Andrea. Noordhoek lives for a while in the ‘het Lam Groen’ (‘The Green Lamb’), a working-class neighbourhood in The Hague. He works there as a painter.
1938-‘48	Noordhoek becomes friends with Enno Brokke. For a period of ten years, they live and work together. Together with Kees Andrea and Jan Gregoor, they belong to a circle of friends comprising artists in The Hague.
1939	Noordhoek settles as an autonomous artist in Mook-Middelaar, a village in North Limburg, where he lives in the attic above a baker named Hendriks.
1941	Noordhoek lives in Plasmolen, in the house of a physician, Albert Daan, who has a circle of friends comprising artists and philosophy enthusiasts. It is an anthroposophical, humanistic environment. Noordhoek is sympathetic to their ideas, but plays no active role. To avoid being sent to a labour camp in Germany, Noordhoek and Brokke work at a pottery called ‘De Olde Kruuk’ (‘The Old Jug’) in Milsbeek, together with the potters Linders and Jansen.
1943	The pottery is forced to close due to an evacuation. Brokke and Noordhoek work for a year as fieldworkers in Middelaar.
1944	When the Allies arrive, Brokke and Noordhoek flee in a canoe across the River Meuse. They find temporary shelter in Sint Agatha with a dentist, named Chenever. They then stay for a year in Haps with a school head teacher, Kees Sars. In spite of the war, Noordhoek continues his artistic activity: from 1944 to 1945, he makes chiefly drawings.
1945	Wim Noordhoek and Enno Brokke live at ‘De Overhage’, a farm in Cuijk. Together wtih Jan Gregoor and Ap Sok, they form the core of a loose artists’ cooperative, that later becomes known as the ‘De Cuijkse Groep’ (‘The Cuijk Group’). Kees Andrea, Ben Debij, Willem Hussem, and Harry Verburg stay with the group on a regular basis. The common factor uniting the group is a desire to be inspired by nature.
	Wim Noordhoek begins working with photography, influenced by Pan Walther, who has gone into hiding with Noordhoek.
1947	With the war over and travel within Europe again possible, Noordhoek and Brokke travel to the Provence in southern France. During this trip, they meet Constant Permeke, Walter Vaes, and Pablo Picasso.
	Noordhoek attends the Photokina with Pan Walther and travels to Switzerland with Enno Brokke.
1948-‘49	Wim Noordhoek takes a trip to Italy with Pan Walther.
1950-‘60	Between 1950 and 1960, Wim Noordhoek is active as a woodcarver.
	He makes various trips to the Balkans, often travelling with gypsies.
1954	Noordhoek moves to Nederhemert and works as an instructor at the KAKV (Koninklijke Akademie voor Kunst en Vormgeving, ‘Royal Academy of Fine Art and Design’) in ‘s-Hertogenbosch. He teaches a basic art course.
	Besides his graphic work, Noordhoek becomes increasingly involved with photography.
1955	On the advice of Chris Broere of the NLK (Nederlandse Leica Kring, ‘Netherlands Leica Circle’), Noordhoek switches to colour photography.
	Noordhoek gives lectures and sits on the jury of the photography club ‘Meer Licht’ (‘More Light’) in Nijmegen. At the ‘Leica School’ in Nijmegen, Noordhoek teaches classes in composition.
1956	Noordhoek takes a trip to Yugoslavia and Greece.
1957	Noordhoek lives in Cuijk and works as a graphic artist and photographer.
1958	Noordhoek resides at his country home on a regular basis, called ‘Lam Groen’ (‘Lamb Green’), located in the Imbos (a wooded nature area) near Eerbeek. Noordhoek photographs the Wereldtentoonstelling (‘World Exhibition’) in Brussels.
1959	Noordhoek travels across France.
1960	The photography industry discovers Wim Noordhoek: he holds slideshow evenings as a way to promote himself.
	In exchange for film, Noordhoek shoots photos for advertising purposes and tests out new materials for Agfa.
	Leica supports Noordhoek on the same conditions.
	Noordhoek becomes a member of the NLK.
	Together with Pan Walther, Carl Heyne and Jan van Halewijn, Noordhoek travels to the Camargue.
1961	Wim Noordhoek becomes a member of the NFK (Nederlandse Fotografen Kunstkring, ‘Netherlands Photographers Art Society’).
1961-‘63	Noordhoek travels to Yugoslavia and southern France (with Meinard Woldringh) in 1961; Brittany (with Chris Broere and Frans Veldman), Norway (with Meinard Woldringh) and France (with Zweitse Landheer) in 1962; Yugoslavia, Spain and France in 1963.
1964	Noordhoek takes a trip across Spain.
	Around Christmas, he has a motorcycle accident. It takes a half-year for him to recover.
1965	Wim Noordhoek travels to Greece, Bulgaria and Yugoslavia with Henk Peeters and his family.
	Starting in the fall, Noordhoek teaches at the Kölner Volkshochschule (community college in Cologne). He demonstrates his teaching methods at the exhibition, Fotografie Elementar (‘Elementary Photography’).
	Noordhoek marries Annet van Battum.
1966	On 8 April Noordhoek’s daughter, Aafke, is born. Following Noordhoek’s breakup with his wife after two years, Aafke remains for several years with her father. After this time, however, she lives with her mother.
	Noordhoek takes a trip to Romania.
1967	Noordhoek is hired as a teacher of photography and art observation in the art history department at Leiden University.
	Noordhoek receives the ‘Master of Leica’ award.
	Noordhoek takes a trip to Italy and Spain.
1968	For the magazine Foto, Noordhoek takes a photo trip across Spain, together with nature photographer Fred Hazelhoff. Noordhoek also travels to Tuscany, Hungary, Romania and Bulgaria.
	Noordhoek receives the ‘Ehrennadel’ (badge of honour), a prize given by the DGPh (Deutsche Gesellschaft für Photographie, ‘German Photographic Association’), of which Noordhoek is a member.
1969	Noordhoek travels to Poland and Czechoslovakia with Michel Szulc-Krzyzanowski and Mark Peeters. He also travels to Portugal, France, Spain, Switzerland, Turkey, and Tuscany. He also visits the Dutch island of Terschelling.
	Starting in 1969, Noordhoek teaches photography at the KAKV in ‘s-Hertogenbosch.
1969-‘70	Noordhoek travels to Romania.
1970	Accompanied by Michel Szulc-Krzyzanowski, Noordhoek takes a trip along the Loire River.
	Noordhoek travels to Iceland, England and Scotland, Norway, Finland, Sweden and Denmark.
1971-‘77	In the 1970s, Noordhoek travels to the following countries: England, Ireland, France and Greece in 1971; Austria, Switzerland, Germany, Italy and Belgium in 1972; France in 1973; Iceland, Switzerland and France in 1975; Macedonia in 1977.
1978	Noordhoek’s book on colour photography, entitled Grundlehre der Farbfotografie (‘Basics of Colour Photography’), is published in Germany.
1979	Klaas Rusticus makes a film portrait of Wim Noordhoek: De Illusie (‘The Illusion’).
1980	Noordhoek is involved in the Multi-theatre projects, Een Hondeleven (‘A Dog’s Life’) and De Drempel (‘The Threshold’).
	Noordhoek gives lessons at De Nieuwe Academie (‘The New Academy’) in Utrecht, a foundation that strives for a working collaboration between amateur and professional artists.
1981	Wim Noordhoek receives the Capi-Lux Alblas prize, which brings him national recognition.
	In December, Noordhoek takes leave of his position at the KAKV in ‘s-Hertogenbosch, having reached retirement age.
1983	Wim Noordhoek receives an award from the Gewest Limburg (‘Region of Limburg’).
	Noordhoek takes a trip to southern France in the summer.
1985	Noordhoek moves to Heusden.
1987	Wim Noordhoek’s health diminishes to the extent that he is no longer able to take photographs.
1990	In August, Noordhoek’s photo archive and the author’s rights to his photographic work are transferred to the Leiden University Print Room.
1991	Noordhoek is admitted to a nursing home in Waalwijk.
1995	Wim Noordhoek dies on 9 August at the age of 78 in Waalwijk.

Discussion

Wim Noordhoek was always a man with tremendous zeal, a lover of art and life. As a quintessential aesthete, he was untiring in his attempts to convey the beauty of life. In this respect he was never satisfied with his existing work, but always continuing to seek out new opportunities. As a man of extremes, Noordhoek not only refused to make compromises in his work, but also in his dealings with others. At the same time, he meant a great deal to people, both as a photographer and a person, precisely because of the straightforwardness and the unpolished manner with which he approached life.

Noordhoek displayed an interest in art from an early age. His first attempts at drawing were made at the Haagse Vrije Studio (‘Hague Open Studio’). He worked as a graphic artist until about 1955, producing mainly etchings and woodcuts. It was during the years of the war that Noordhoek had his first encounter with photography through the photographer Pan Walther, who was also in hiding. Noordhoek continued to experiment after the war. Only in 1957, however, did he choose photography on a permanent basis.

While Noordhoek was always very patient when it came to his graphic work, the medium of photography suited his impulsive temperament much better: ‘Photography is much more than a response to my entire being.’ With Noordhoek, there was always the desire for change. In this regard, he once said: ‘I like to conquer something. I’ve painted, I’ve drawn, I’ve made woodcuts with tremendous conviction and I’ve always done that until I’d reached the point where I have the feeling for myself that I’ve got the very most out of it.’ Noordhoek’s first teacher in photography, Pan Walther, whom he had previously met in the 1930s, would exercise a tremendous influence upon him. Noordhoek and Walther were like-minded personalities who remained friends throughout their lives. The similarities in their work go beyond shared themes. Both tried to represent nature in a succinct, almost symbolic manner. When it came to their portraits, both Walther and Noordhoek tried to combine a psychological characterisation with aesthetic design. Walther was a dramatic photographer, who liked to work with strong light and dark contrasts. His photo portraits have been compared to the work of the German photographer Helmar Lerski. Noordhoek’s portraits, by contrast, are more demure in nature.

It was through the (Nederlandse Leica Kring, ‘Netherlands Art Circle’) that Noordhoek came into contact with the photographer Meinard Woldringh, who, like Walther, would also have an influence on his career. Noordhoek considered Woldringh to be a good friend and admired his landscapes and use of colour. Both men preferred landscapes as the subject of their photography, as well taking various photography trips together. In terms of approach, similarities can be observed in their work. Both made attempts to single out the most essential elements of a subject, sometimes reducing landscapes to an abstract form. In doing so, they were in tune with an abstract expressionist tendency in photography. Within the NFK (Nederlandsche Fotografen Kunstkring, ‘Netherlands Photographers Art Society’)—of which Noordhoek was a member starting in 1961—Woldringh and others adhered to the tenets of Subjective Photography, a term introduced by Otto Steinert in the 1950s. Noordhoek’s love of experimentation and his perspective on photography as a medium to be used by the artist share similarities with Subjective Photography, in which the photographer’s personal contribution and creative attitude are emphasised. Noordhoek’s use of the element ‘kitsch’ to obtain moralising content is also in the same line with the working approach applied in Subjective Photography.

Noordhoek’s background in graphic arts can occasionally be observed in his photography. His experiments with photography’s capabilities are closely related to graphic art, particularly the photograms from the book Die Kindernähmaschine (‘The Child’s Sewing Machine’, 1971) in which all medium tints are avoided. Noordhoek initially displayed his photography alongside his graphic work. He was already gaining admiration for his photos at a very early stage, particularly in amateur circles, where his choice of subject matter, use of colour, and working style were frequently imitated. In professional photography circles, people accepted Noordhoek’s work less readily, though he was still admitted to the NLK.

Where Noordhoek did manage to gain a better foothold was in Germany, which had an existing tradition of landscape photography into which his work could be categorised. His photos regularly appeared in the magazine Photoblätter, published by Agfa-Gevaert.

Although initially minimally interested in colour photography, Noordhoek made test shots around 1958. From that moment on, he became an enthusiastic colour photographer. In his book Grundlehre der Farbfotografie (‘Basic Principles of Colour Photography’) from 1978, Noordhoek outlined his ideas. The strength of colour photography, in his view, lay in its limitation. Colour was not to be seen as a property of things, but as something determined by the moment, depending on the fall of light, mood, or weather conditions. Noordhoek was more drawn to a certain form or colour situation than to any specific topic. Colour in photography had to be worthwhile and applied in measured amounts: ‘Too much colour leads to chaos. Sun is actually the enemy of colour photography.’ Noordhoek did his best to avoid major colour contrasts and preferred taking photos with medium light. For this reason, he enjoyed photographing in the winter, during storms, and when it was raining, i.e., precisely at times when natural conditions offer little colour: ‘The winter provides photography with exceptional motifs: the lit landscape under a dark sky, the graphic effect of trees without leaves, and clear light-and-dark contrasts.’ To achieve gradations in colour, Noordhoek relied on natural atmospheres such as mist, clouds and dew as filters. He also used changes in sharpness to enhance colour variation. Noordhoek had a tendency to render colours especially in the direction of blue.

Wim Noordhoek distinguished between an objective and a subjective sense of colour: specifically, what one observes and what one experiences when seeing colour. Unsurprisingly, his colours sometimes bear little resemblance to reality. Just as an impressionistic painter, Noordhoek felt free to transform colours according to his own personal preference. With such a free interpretation, colour is seen not so much as a property of objects, but as a conveyor of emotion.

Wim Noordhoek’s preference for landscape-related themes was already present in his days working as a graphic artist. This was not to change when he turned to photography. Noordhoek’s landscape photography emerged during his countless trips to different countries across Europe. His take on composition in landscape photography was two-tiered: ‘Landscape photography is leaving the landscape as it is, in which you try: on one hand, to abstract the landscape, and on the other, to capture the image of the totality of its function and origin.’ Noordhoek respected a landscape as it was by changing the subject as little as possible. Compositional alterations were accomplished by changing the frame. ‘Actualising and intensifying the abstract elements already present in the landscape’ was achieved by isolating and photographing—in very close proximity— representative details, such as trees, rocks, or bodies of water. Liberated from their surroundings and depicted abstractly, the original forms became unrecognisable. Noordhoek sometimes employed large contrasts in light to give them a strong graphic character. Geometric motifs and structures in nature were highlighted. By photographing only the trunks of a line of trees, Noordhoek managed to fit an inherently irregular subject into a balanced composition.

On a smaller scale, Noordhoek felt free enough to introduce his own changes. He freely composed still lifes by taking gathered wood, loose stones, and green plants found in the vicinity. He did so, however, only on the condition that the impression of naturalness was preserved. In Noordhoek’s view, the colour landscape photo was not to be a reproduction, but rather a colourful expression of reality. As such, his perspective of landscape photography is essentially impressionistic in character. Besides his free interpretation of colour, Noordhoek’s treatment of light and his fondness for reflections were also contributing factors in achieving this vision.

Besides landscapes, Noordhoek also photographed architecture during his frequent travels. He took photos of cities and villages, facades and doors. For these images as well, Noordhoek enjoyed seeking out details as photographic subjects. Removed from their surroundings, architectural details sometimes create an abstract effect. This applies to coloured blemishes on wood and plasterwork, as opposed to doors and windows, which can still clearly be recognized. Here as well, subject matter is secondary to form and colour, with the aesthetic outcome always being most important. Noordhoek was able to devise still lifes from relatively unusual themes such as windows and doors, walls, unpainted window frames, steps, curtains, vases and other painterly elements. Characteristic of his architectural photography was the strong frontality, achieving an almost geometric layout of the visual surface and a simple, static composition. Sometimes inhabitants are standing out in front of a building, thus enlivening the whole. In the absence of any activity, however, the photo maintains an observational quality and works as a still life.

Noordhoek’s photos were artistically directed down to the detail. Sometimes he positioned a bike against a facade or a child behind a window. He described the removal of distracting elements as ‘the purification of the image’. The people in Noordhoek’s architectural photos pose and wait calmly until the photographer is done with his work. Such acquiescence, together with the fact that Noordhoek often photographed in impoverished or rundown neighbourhoods, often gives his photos a melancholy expression. When Noordhoek photographed windows, he took advantage of the transparent and reflecting properties of glass. Through reflections or the depiction of people or objects in the window, the flat composition took on a greater depth. Noordhoek managed to create an indirect manner of observation that conveyed both a degree of intimacy and a degree of distance simultaneously. In the 1960s, this ‘transparent’ photography was to become one of his trademarks.

As a photographer, Wim Noordhoek also relied on people as his subject. His photographs of children are among the most frequently published images from his oeuvre. In addition, he took countless photos of the gypsies with whom he cohabited for a period of time. Much of this work consists of portraits. Like August Sander, Noordhoek strove to achieve a certain austerity and isolation in his models. In doing so, he tried to devise a psychological representation. This also applied to his photos of children, in which he distinguished between themes such as ‘de verdroomde wereld’ (‘the dreamt-up world’), child’s play, and portraits. In no way did he shy away from the element of ‘cuteness’.

In his portrait photography, Noordhoek artistically directed every aspect, usually taking many shots. The advantage to this approach was that it allowed both the portrayed person and the photographer to grow accustomed to the situation. Noordhoek had the ability to mesmerise people—to get them to pose of their own volition. He counted on the cooperation of his models, calling it: ‘a form of loyalty’. He laid claims on his models and even expected a kind of subservience. Noordhoek admitted that this implied an element of dictatorial behaviour: ‘Once you realize you have to take a photo, there is always a form of [artistic] direction that comes with it.’ Noordhoek’s strict control led to a passive poses with his models. Particularly when photographing children, this quite often results in serene, melancholy images. The calm expressed in their poses—somewhat unnatural to children—underscores this. Klaas Rusticus’ film De Illusie (‘The Illusion’) clearly captures this aspect of this working approach: Noordhoek’s photo transforms a lively little chap in the film into a contemplative boy. By positioning children in front of dilapidated buildings, thus combining youth and decline, a sombre totality emerges. Photographed frontally against a static background like a facade or wall, there are few distracting details. Consequently, the model receives all of the attention.

Because people were not portrayed in their day-to-day routine, i.e. doing the things they normally do, Noordhoek’s photos assumed an observant and detached quality. With his portrait photography, Noordhoek applied light creatively. By allowing leaves to function as a light filter, for instance, he was able to achieve a fragmented lighting effect. Random accents of light evoked randomness in the way the light fell, thus ensuring the photographic portrait was never too static.

Wim Noordhoek’s still-life photography addresses a wide range of topics: cemeteries, children’s playthings, and objects that might at first seem trivial, such as garbage, objects found on the street or in nature, dried flowers, a dead bird, etc. Detail photos from Noordhoek’s landscape and architectural photography may also be considered as still lifes. Noordhoek made a distinction between the encountered versus the composed still life. For the latter, he laid down two criteria: the still life had to have a thematic connection and it had to have the appearance of chance. Here too he composed his subjects: ‘An artist also makes his own still lifes, does he not.’ Noordhoek enjoyed the creative element of photography: ‘The pleasure of building it up, the removal of a group of ferns that are in his opinion too light, planting some additional green; as he puts it, it’s not only allowed, it’s necessary. Rarely is it suddenly just right. And if there’s nothing to be changed, then it’s often only a matter of time.’ Noordhoek saw a still life as conveying a message. Many times he chose timelessness, or silence, as the subject of his photography. In this manner, Noordhoek transformed the real world into an alternative reality holding symbolic meaning. He was fascinated with the concept of time. It was not just about capturing a single moment: Noordhoek tried to create a monument to the present. In his still lifes, the transitory nature of life was a theme addressed emphatically. He was always searching for that timeless, indivisible moment. Noordhoek also took photos that were documentary in essence, but reportage photography failed to intrigue him due to its temporal nature.

By attempting to combine topics of generally acknowledged beauty, e.g. flowers and children’s toys, with a deeper underlying meaning, Noordhoek risked losing himself in an excess of sentiment. Concepts such as kitsch and sentimentality, in his estimation, were simply part of life and were therefore not be evaded. Kitsch is concerned with highly sincere matters: ‘The kitsch in life is essentially the salt in the porridge’. Noordhoek discerned the theme of ‘beautiful kitsch’: objects possessing an excess of emotional value. His aim to present what was unreal in such a way, that a new reality could arise from it. Examples of this can be found in Noordhoek’s photos of children and gravesite ornamentation.

Wim Noordhoek disliked working long hours in the darkroom, observing: ‘With me, the emphasis is specifically on the moment I take it; for me, this is a highly essential moment. I’m not a typical technician who loves to mess around and experiment.’ As well in the darkroom, however, Noordhoek was an aesthete, whose desire was to produce the perfect print.

Wim Noordhoek worked with different kinds of cameras. In his early days as a photographer, he relied on an old Ikoflex, a two-eyed 6×6 camera. In 1966, he photographed with a Leica. One year later with two 35 mm cameras: one for black-and-white and another for colour. Noordhoek relied on three different lenses, specifically, a 21 mm wide-angle lens, a Leitz 60 mm Macro-Elmarit lens and a 135 mm telephoto lens. When taking photo portraits, he first used an instant camera to help his models grow accustomed to the camera, thereafter taking the actual shot. When making group portraits, he worked with a cable shutter release, so full attention could be given to the photo’s composition.

Starting in 1960, Wim Noordhoek was in regular contact with the company Agfa- Gevaert AG. In exchange for photos to be used for advertising purposes, he was given film and tested out new emulsions. His colour photos were made in collaboration with Agfa.

Wim Noordhoek’s major achievement in photography is largely the role he played as an educator and promoter. His work at the KAKV in ‘s-Hertogenbosch, the Volkshochschule (a community college) in Cologne, Germany, and Leiden University provided him not only with a regular source of income, but brought him significant pleasure in teaching. His individualistic character sometimes clashed with what the students had to offer. Notwithstanding, Noordhoek knew how to inspire people like no other. In the 1960s, he acquired a major following of amateur photographers, in whom he sparked a genuine trend with choice of subject matter and use of colour. Because he was able to show that a free and creative photography could coexist alongside traditional approaches to professional photography, Noordhoek also had a marked influence on professional photographers.

Documentation

Primary bibliography

(inleiding) Catalogus tent. Fotoprijs Amsterdam 1965, Amsterdam (Stedelijk Museum) 1965, (Catalogus nr. 383).

Wim Noordhoek, in Focus 50 (5 februari 1965) 3, p. 30.

Eva torn Moehlen (tekst), Die Kindernähmaschine. Ein fotographisches Lehrbeispiel, Keulen (Studio DuMont) 1971. (idem: 1981).

Grundlehre der Farbfotografie. Bildgestaltung mit Wim Noordhoek, Düsseldorf/Leverkusen (Wilhelm Knapp Verlag/Agfa-Gevaert AG) 1978, (Nederlandse ed.: Compositie in de kleurenfotografie, Amsterdam 1979).

in Photoblätter:

Wieviel Farbe braucht ein Farbphoto?, 47 (maart/april 1976) 2, p. 74-75 (met foto’s).

Form und Farbe. Bildgestaltung mit Wim Noordhoek, Folge II: Auflicht oder Gegenlicht?, 47 (mei/juni 1976) 3, p. 122-123 (met foto’s).

Form und Farbe. Bildgestaltung mit Wim Noordhoek, 47 (juli/augustus 1976) 4, p. 158-159 (met foto’s).

Form und Farbe. Bildgestaltung mit Wim Noordhoek, 47 (september/oktober 1976) 5, p. 226-227 (met foto’s).

Die vier Jahreszeiten, 47 (november/december 1976) 6, p. 252-253, 255 (met foto’s).

Parallelen schaffen Ordnung. Form und Farbe: Bildgestaltung mit Wim Noordhoek, 48 (januari/februari 1977) 1, p. 26-27 (met foto’s).

Kontrast im Photo. Bildgestaltung mit Wim Noordhoek, 48 (mei/juni 1977) 3, p. 122-123 (met foto’s).

Die Welt von oben. Bildgestaltung mit Wim Noordhoek, 48 (september/oktober 1977) 5, p. 230-231 (met foto’s).

Stimmung im Photo. Bildgestaltung mit Wim Noordhoek, 48 (november/december 1977) 6, p. 262-265 (met foto’s).

Mit oder ohne Vordergrund? Wim Noordhoek zeigt den Unterschied, 49 (mei/juni 1978) 3, p. 122-123 (met foto’s).

Von oben herab. Die Qual der Wahl des richtigen Standpunkts, 49 (mei/juni 1978) 3, p. 123.

Strukturen im Wasser. Wim Noordhoek zeigt den Unterschied, 49 (juli/augustus Ruderboot. Wim Noordhoek zeigt den Unterschied, 49 (september/oktober 1978) 5, p. 214-215 (met foto’s).

Das Jahr klingt aus. Zwei Fotografen – fünf Sonnenuntergange, 49 (november/december 1978) 6, p. 264-265 (met foto’s).

Wasserrosen. Wim Noordhoek zeigt den Unterschied, 50 (maart/april 1979) 2, p. 62-63 (met foto’s).

Freund Jan. Bildgestaltung mit Wim Noordhoek, 50 (mei/juni 1979) 3, p. 122-123 (met foto’s).

Ein Farbhauch, 50 (november/december 1979) 6, p. 242-243 (met foto).

Rhythmus. Bildgestaltung mit Wim Noordhoek, 51 (januari/februari 1980) 1, p. 26-27 (met foto’s).

Viadukt. Bildgestaltung mit Wim Noordhoek, 51 (maart/april 1980) 2, p. 72-73, 75 (met foto).

Idylle ohne Kitsch. Bildgestaltung mit Wim Noordhoek, 51 (mei/juni 1980) 3, p.110-111 (met foto’s).

Links/Rechts. Bildgestaltung mit Wim Noordhoek, 51 (juli/augustus 1980) 4, p. 170-171 (met foto’s).

Schnee in der Landschaft. Bildgestaltung mit Wim Noordhoek, 52 (januari/februari 1981) 1, p. 22-23 (niet foto’s).

images in:

Foto 17 (april 1962) 4, p. 169.

Foto 18 (juni 1963) 6, p. 313.

Chromolux Kalender 1964. Farbiger Glanz, Bergisch Gladbach (Zanders Feinpapiere AG) 1963.

Foto 19 (februari 1964) 2, p. 74.

Leica-Fotografie (maart/april 1964) 2), p. 66-67.

Chromolux-Kalender 1968. Glanz der Kindheit, Bergisch Gladbach (Zanders Feinpapiere AG) 1967.

Geertje de Vries, Zigeuners willen gewone mensen zijn, in Libelle 34 (4 maart 1967) 9, p. 104-112.

Kölner Stadt-Anzeiger 23/24 maart 1968.

Photoblätter 42 (januari/februari 1971) 1, omslag.

Libelle (18-24 december 1971) 52 (Kerstnummer), omslag, p. 108-111.

T.F.F. Maandblad voor audio-visuele technieken, (maart 1972) 3, omslag (reclame Agfa- Gevaert).

Photoblätter 43 (november/december 1972) 6, p. 232.

Chromolux-Kalender 1974. Fenster, Bergisch Gladbach (Zanders Feinpapiere AG) 1973.

Photoblätter 46 (januari/februari 1975) 1, p. 15.

Photoblätter 46 (september/oktober 1975) 5, p. 208.

Catalogus 4de Wereldtentoonstelling van de fotografie. De kinderen van deze wereld, Hamburg (Gruner + Jahr AG & Co.) 1977, afb. 281.

DuMont Photokunst-Kalender 1979.

Island, Keulen (DuMont) mei 1978.

DuMont Photokunst-Kalender 1981.

Baume, Keulen (DuMont) 1980.

GKF Fotografen. GKF Fototijdschrift (april 1982)6, p. 24.

Bondsbulletin BNAFV 2 (februari 1983) 1.

Ansichtkaart, Amsterdam (Art Unlimited) 1990.

Secondary bibliography

J.J. Hens, Wat ik zag… en hoorde… dat mij trof. Wim Noordhoek, graficus en fotograaf, in Foto 12 (september 1957) 9, p. 357-358.

Auteur onbekend, Een paar prenten uit de toelatingscollecties der eerste kernleden van de Nederlandse Leica Kring, in Foto 15 (februari 1960) 2,p. 68-76.

H. (= Daan Helfferich), Kijken in kleuren, in Foto 15 (oktober 1960) 10, p. 506-511.

Jan Veenhuysen, Wim Noordhoek n.f.k. op toernee met Kijken in kleuren, in Focus 45 (29 oktober 1960) 22, p. 740-741.

H. (= Daan Helfferich), Rondom de jurering voor lid en kernlid van de Nederlandse Leica Kring, in Foto 16 (januari 1961) 1, p. 20-25.

Giel Bakker, En toen ‘ging hij in de kleur’… Het grote avontuur van Wim Noordhoek, in Het Vrije Volk 10 mei 1961.

H. (= Daan Helfferich), 4 Karakters, in Foto 16 (juli 1961) 7, p. 343.

Auteur onbekend, Fotografiek, in Foto 16 (juli 1961) 7, p. 69.

Auteur onbekend, Foto grafiek in Nijmegen, in Foto 16 (augustus 1961) 8, p.417.

D.B. (= Dick Boer), Bijzondere fototentoonstelling in Nijmegen. Schitterend werk van Pan Walther en Wim Noordhoek, in Focus 46 (5 augustus 1961) 16, p. 487.

Dick Boer, Tentoonstelling Pan Walther en Wim Noordhoek in Nijmegen, in Focus 46 (19 augustus 1961) 17, p. 526-528 (met foto’s).

Catalogus tent. Nederlandse Fotografen Kring, Nijmegen (De Waag) 1963.

P.v.d.P., Sublieme foto’s van Noordhoek, in Het Vrije Volk 24 mei 1963.

J.N. van Wessem (samenstelling), Grafiek. Nederlandse grafiek na negentienvijfenveertig, Hilversum (C. de Boer Jr./Paul Brand n.v.) 1964, p. 36a-b.

Catalogus tent. Vijf Gelderse fotografen, Arnhem (Gemeentemuseum Arnhem) 1964 (met foto’s).

Johan Wesselink, Wim Noordhoek: “De vent die kiest, is belangrijk”. Gelderse fotografen in gemeentemuseum, in De Arnhemse Courant 22 december 1964.

H. (= Daan Helfferich), Jaarbijeenkomst en jurering, in Foto 20 (januari 1965) 1, p. 18-21.

H. (= Daan Helfferich), 5 Gelderse fotografen in het Arnhemse Gemeentemuseum, in Foto 20 (januari 1965) 1, p. 41.

Dick Boer, Vijf Gelderse fotografen in Gemeentemuseum Arnhem, in Focus 50 (5 februari 1965) 3, p. 27.

Auteur onbekend, Wedstrijden + tentoonstellingen. Eénmanstentoonstelling Wim Noordhoek in Keulen, in Focus 51 (8 juli 1966) 14, p. 27.

Jan Donia (tekst), Zo wonen fotografen, in Eva. Weekblad voor de vrouw (6 augustus 1966) 32, p. 69-76.

(Folder) Poesie und Realismus, Fotografien von Wim Noordhoek. Ausstellung der Volkshochschule Köln, Keulen (Volkshochschule) 1966.

Catalogus Expositie van leden Nederlandse Fotografen Kring, Apeldoorn (Gemeentelijke van Reekum Galerij) 1966.

Catalogus Photokina 1966. Bilder und Texte, Keulen (Messe- und Ausstellungs Ges.) 1966, p. 44, 48.

F.F. Hazelhoff, De 16 fototentoonstellingen van de Photokina, in Foto 21 (november 1966) 11, p. 506-511.

B., Technisch knap werk in de Van Reekum Galerie. Somberheid overheerst op foto-tentoonstelling, in Nieuwe Apeldoornse Courant 7 december 1966.

dh (= Daan Helfferich), Tentoonstelling werk van leden Nederlandse Fotografen Kring, in Foto 22 (februari 1967) 2, p. 61.

F.F. Hazelhoff, Uit het werk van Wim Noordhoek, in Foto 22 (december 1967) 12, omslag, p. 602-623 (met foto’s).

Catalogus Wim Noordhoek. Fototentoonstelling, Eindhoven (Technische Hogeschool Eindhoven) 1968.

F.F. Hazelhoff, Een foto-reis door Spanje. 1. Het Structuurlandschap, in Foto 23 (december 1968) 12, p. 587-604 (met foto’s).

(Folder) Fotografie elementar in vier Beispielen, Volkshochschule, Keulen 16 september 1968-7 februari 1969.

B.L. (= Bernd Lohse), Die besondere Welt des Wim Noordhoek, in Photoblätter 39 (januari/februari 1968) 1, p. 20-23 (met foto’s).

F.F. Hazelhoff, Een foto-reis door Spanje. 2. Mensen en dorpen, in Foto 24 (januari 1969) 1, 12-29 (met foto’s).

F.F. Hazelhoff, Een foto-reis door Spanje. 3. Bomen, bossen en bergen, in Foto 24 (februari 1969) 2,p. 72-85 (met foto’s).

Auteur onbekend, O diese Schäfchen, in Photoblätter 40 (maart/april 1969) 2, p. 46-47.

Pieter A. Scheen, Lexicon Nederlandse beeldende kunstenaars 1750-1950. M-Z, Den Haag (Kunsthandel Pieter A. Scheen N.V.) 1970, p. 113.

Catalogus Photokina 1970, Keulen (Messe und Ausstellungs-Ges.) 1970, p. 120, 130-132 (met foto’s).

Auteur onbekend, Materie – 4 Meister der asthetischen Fotografie, in Prisma. Zeitschrift für visuelle Kommunikation oktober 1970, p. 444, 446-449 (met foto’s).

Werner Krüger, ‘Asthetik mit der Fotolinse’, Photokina-Bilderschau in Halle 3, in Kölner Stadtanzeiger (6 oktober 1970) 232, p.8.

fh (= Fred Hazelhoff), Photokina 1970. Materie – 4 topfotografen van de esthetische fotografie, in Foto 25 (oktober 1970) 10, p. 496.

H.N., Ein Kind – Ein Jahr – Eine Kamera, in Prisma. Zeitschrift für visuelle Kommunikation (mei 1971) 5, p. 19-23 (met foto’s), (idem Nederlandse vertaling: Wim Noordhoek, in Fototribune 33 (mei 1971) 5, p. 17-21).

John Holler, Wim Noordhoek, in Hasselblad (1971) 3, omslag, p. 1 -13 (met foto’s).

Auteur onbekend, Nichts weiter als eine Nähmaschine, in Photoblätter 42 (mei/juni 1971) 3, p. 114-115.

Bernd Lohse, Zur Farbe die Form… Einige Betrachtungen zum Nutzen des Ferienreisenden, der Bilder schaffen möchte, in Photoblätter 42 (juli/augustus 1971) 1, p. 152-155 (met foto’s).

Jacques Meijer, Wim Noordhoek in zwart/wit, in Fototribune 33 (november 1971) 11, p. 12-17 (met foto’s).

W.K.C. (= W.K. Coumans), Domien van Gent liet fotografie zien, in Foto 27 (januari 1972) 1, p. 57.

(Folder) Foto’s van Wim Noordhoek, Stadhuis, Zaltbommel 9 december 1972-7 januari 1973.

Wolfgang Engelhardt, Schöne schlechte Jahreszeit, in Photoblätter 45 (november/december 1974) 6, p. 240, 242.

Gaby Richter, Matadore der Kamera. Wim Noordhoek, in Color Foto Journal 4 (1 december 1974) 12, p. 56-64 (met foto’s).

Rudolf Smit, Wim Noordhoek. Fotografen en hun werk, in Foto 30 (augustus 1975) 8, omslag, p. 38-49 (met foto’s).

K. Roodenburg, De Cuykse Groep na dertig jaar, Bleiswijk (De Kring) 1976.

Auteur onbekend, Form und Farbe. Bildgestaltung mit Wim Noordhoek, in Photoblätter 47 (maart/april 1976) 2, p. 74-75 (met foto’s), wde, Photoseminar mit Wim Noordhoek, in Photoblätter 47 (juli/augustus 1976) 4, p. 159.

Auteur onbekend, Wim Noordhoek, Ap Sok, Enno Brokke en Jan Gregoor. Expositie over ‘Cuykse Groep’, in De Gelderlander 9 december 1976.

Petr Tausk, Die Geschichte der Fotografie im 20. Jahrhundert. Von der Kunstfotografie bis zum Bildjournalismus, Keulen (DuMont) 1977, p. 256. (Engelse ed.: Photography in the 20th century, Londen (Focal/Hastings House) 1980, na p. 256, p. 275).

Auteur onbekend, Literair Café. Hofleverancier, in Nieuwsbrief van het Provinciaal Genootschap van Kunsten en Wetenschappen in Noord-Brabant 7 december 1977.

Els Barents (red.), Fotografie in Nederland 1940-1975, Den Haag (Staatsuitgeverij) 1978, p. 94 (met foto’s), losse biografie.

Auteur onbekend, Verzaubert durch Schnee und Eis, in Photoblatter 50 (januari/februari 1979) 1, p. 22, 25.

Claus Brockhaus, Wim Noordhoek: De Illusie en het Geschenk, in VPRO-gids (10 t/m 16 maart 1979) 10, omslag, p. 3-5.

Auteur onbekend, Goede documentaire, in De Volkskrant 12 maart 1979.

Auteur onbekend, Zum Titelbild Nach der Ernte, in Photoblatter 50 (september/oktober 1979) 5, omslag, p. 195.

Auteur onbekend, Wim Noordhoek, in Volvo-Journaal voorjaar 1980, omslag, p. 58-59.

Auteur onbekend, Herbst, in Photoblätter 51 (september/oktober 1980) 5, p. 194-195 (met foto).

Auteur onbekend, Nebelwald, in Photoblatter 51 (november/december 1980) 6, p. 242-243 (met foto).

Auteur onbekend, DuMont-Photokunst-Kalender 1981. Zwei Kalender von Wim Noordhoek und Joschik Kerstin, in Photographie kulturell (Das Schweizerische Monatsmagazin) 4 (1980) 9, p. 157.

Auteur onbekend, Zum nebenstehenden Farbfoto von Wim Noordhoek Pastell, in Photoblatter 52 (maart/april 1981) 2, p. 74-75 (met foto).

Auteur onbekend, Beschrijvende fotografie, in Kunstbericht (2-maandelijks informatietijdschrift Kunstcentrum Brabant) 2 (april/mei 1981),p. 1.

Sophie Gobits-Van Beek, Wim Noordhoek; fotograaf van de stilte, in Kunstbeeld 6 (december 1981)3, p. 58-59.

Auteur onbekend, Foto’s van Wim Noordhoek, in Brabants Dagblad 7 december 1983.

Jan Hooimeijer, Tentoonstelling Wim Noordhoek. 4 t/m 22 november, in Zouavenlaan 77 Bulletin 1985.

Nieuws. Cursus Frankrijk, in Foto 40 (4 april 1985)4, p. 16.

Bas Roodnat, Tentoonstelling in Sittard met werk van veertien reizende fotografen. Een nieuwe visie op het onbekende, in NRC Handelsblad 31 juli 1986.

Doris Grootenboer, Fotografen op reis. Gevarieerde expositie in Sittard, in Algemeen Dagblad 8 augustus 1986, p. 6.

Auteur onbekend, Expositie in Kritzraedthuis. Fotografen op reis, in Limburgs Dagblad 8 juli 1986.

Auteur onbekend, Kritzraedthuis, in Maas en Mijn 9 juli 1986.

Willem K. Coumans, Ontdekkings reizigers in Kritzraedthuis. Nederlandse fotografen op reis, in De Limburger 25 juli 1986.

Wim Broekman (eindred.), NAFV 1887-1987. 100 Jaar georganiseerde amateurfotografie. “De fotografie is eene wetenschap, het fotografeeren eene kunst”, Leusden (Uitgeverij Foto) 1987, p. 32, 34.

Petr Tausk, Wim Noordhoek, in Colin Naylor (ed.), Contemporary photographers, Chicago/Londen (St. James Press) 1988, 2de ed., p. 764-765.

Wim Broekman, Wim Noordhoek, in Catalogus tent. 10 jaar Capi-Lux Alblas Prijs, Amsterdam (Capi-Lux Alblas Stichting). 1990, p. 136-149 (met foto’s).

Bodo Rieger (tekst), 30 Jahre Zanders Kalender. Zeugen von Qualitat, Kultur und Zeitgeist, Bergisch Gladbach (Zanders Feinpapiere AG) 1990 (idem Engelse uitg.).

Wim Broekman, Wim Noordhoek retrospectieve expositie, in Foto 45 (juli/augustus 1990) 7/8, p. 47-58 (met foto’s).

Auteur onbekend, Tien jaar Capi-Lux Alblasprijs, in Focus 75 (april 1990) 4, p. 52-53.

Memberships

NLK, vanaf 1960.

NFK, vanaf 1961 -1966.

DGPh.

GKf, vanaf ca. 1980-1987.

Awards

1963 Gouden medaille, tentoonstelling Lebensfreude …. Lebensfreuden (Photokina), Keulen.

1965 Fotoprijs van Amsterdam.

1967 Meister der Leica, Jaarlijkse Leitzonderscheiding.

1968 Ehrennadel, toegekend door DGPh bij de Photokina, Keulen.

1979 Bekroning van het boek Grundlehre der Farbphotographie. Bildgestaltung mit Wim Noordhoek, Düsseldorf/Leverkusen (Wilhelm Knapp Verlag/Agfa-Gevaert AG) 1978, als beste fotoboek van het jaar.

1981 (4 september) Capi-Lux Alblasprijs 1981.

1983 Prijs van het Gewest Limburg.

Exhibitions

1957 (e) Someren, Wim Noordhoek (fotografie en grafiek).

1961 (g) Nijmegen, De Waag, Fotografiek (tentoonstelling van Wim Noordhoek en Pan Walther).

1961 (g) Amsterdam, Arti et Amicitiae, 20e Internationale Focus Salon.

1962 (g) Amersfoort, De Zonnehof, Nationale en Internationale tentoonstelling ter gelegenheid van het 40-jarig bestaan van de Bond van Nederlandsche Amateurfotografen Vereenigingen 1922-1962 (rondreizende tentoonstelling) .

1962 (e) Den Bosch, Atelier W. de Greef.

1963 (g) Keulen, Lebensfreude …. Lebensfreuden (Photokina).

1963 (g) Nijmegen, De Waag, Nederlandse Fotografen Kring.

1963 (e) Amsterdam, Bas van Pelt.

1963 (g) Utrecht, Musement.

1963 (e) Den Haag, Bas van Pelt.

1964 (e) Amsterdam, Bas van Pelt.

1964/1965 (g) Arnhem, Gemeentemuseum Arnhem, 5 Gelderse fotografen.

1965 (g) Leiden, Stedelijk Museum De Lakenhal, Fotografie en Wetenschap.

1966 (g) Apeldoorn, Gemeentelijke Van Reekum Galerie, Expositie van leden Nederlandse Fotografen Kring.

1966 (g) Meppel, Hedendaagse Fotografie.

1966 (e) Keulen, Volkshochschule, Poesie und Realismus. Fotografen von Wim Noordhoek.

1966 (g) Keulen, Essays in Farbe (Photokina).

1967 (g) Apeldoorn, Gemeentelijke Van Reekum Galerij, (NFK).

1967 (e) Leiden, Prentenkabinet van de Rijksuniversiteit Leiden.

1967/1968 (e) Leiden, Stedelijk Museum De Lakenhal, Wim Noordhoek: Foto’s.

1968 (e) Leiden, Prentenkabinet van de Rijksuniversiteit Leiden.

1968 (e) Eindhoven, Technische Hogeschool, Poëzie en werkelijkheid.

1968/1969 (g) Keulen, Volkshochschule Köln, Fotografie Elementar (Photokina).

1970 (g) Keulen, Photokina.

1972 (g) Den Bosch, Noordbrabants Museum, Keuze ‘7/.

1972/1973 (e) Zaltbommel, Stadhuis, Foto’s van Wim Noordhoek.

1976 (e) Rotterdam, Erasmusuniversiteit (Medische Faculteit).

1976/1977 (g) Bleiswijk, Galerie Kom in de Kring, De Cuykse Groep na dertig jaar.

1977 (g) De Steeg, Kasteel Middachten, De Cuykse Groep na 30jaar.

1977 (g) Cuyk, De Cuykse Groep na 30 jaar.

1977 (g) Hamburg, 4de Wereldtentoonstelling van de fotografie. De kinderen van deze wereld.

1978/1979 (g) Amsterdam, Stedelijk Museum, Fotografie in Nederland 1940-1975.

1981 (e) Amsterdam, Capi-Lux (Basisweg 38), Wim Noordhoek.

1981 (g) Tilburg, Kunstcentrum Brabant, Beschrijvende Fotografie.

1982 (e) Boxtel, Barth Lijsten.

1983 (e) Harderwijk, Catharinakapel, Zie de Mens een serie zwart / wit foto ‘s. De Stilte een serie kleurdrukken.

1983 (e) Uden, De Pronkkamer, Zie de Mens en De Stilte.

1985 (e) Den Bosch, Het centrum voor kunstzinnige vorming Zouavenlaan 77.

1985 (e) Den Haag, Dr. J.W. de Poushal, SER-expositie.

1986 (g) Sittard, Kritzraedthuis, Nederlandsefotografen op reis, een keuze.

1988 (g) Doetinchem, De Gruitpoort Galerij, Visies op Landschap.

1990 (g) Amsterdam, Posthoornkerk, 10 jaar Capi-Lux Alblas Prijs.

1990 (e) Amsterdam, Canon Image Centre, Wim Noordhoek, een overzicht.

Television Programs

1979 (maart) De Illusie. Een programma naar idee van Klaas Rusticus over Wim Noordhoek (VPRO).

Sources

Amsterdam, Art Unlimited (documentatie).

Amsterdam, M. Szulc-Krzyzanowski (mondelinge informatie).

Beek, fam. C.W. Broere (mondelinge informatie).

Bemmel, W. Schuwirth (mondelinge informatie en documentatie).

Bergisch Gladbach, Zanders Feinpapiere AG (documentatie).

Brummen, fam. H. Peeters (mondelinge informatie).

Den Bosch, Akademie voor Kunst en Vormgeving (mondelinge informatie en documentatie).

Den Bosch, G. Clement (mondelinge informatie en documentatie).

Den Haag, K. Andrea (mondelinge informatie).

Den Haag, Gemeentearchief.

Den Haag, fam. J. Noordhoek (mondelinge informatie en documentatie).

Garderen, A. Peuchen-Noordhoek (mondelinge informatie en documentatie).

Grave, Streekarchiefdienst (mondelinge informatie en documentatie).

Keulen, DuMont Buchverlag GmbH & Co (documentatie).

Keulen, Volkshochschule Köln (documentatie).

Leiden, Prentenkabinet, bibliotheek en documentatiebestand.

München, Verlag Design + Technik (schriftelijke informatie).

Nijmegen, B. Carmiggelt (mondelinge informatie)

Nijmegen, J. van Halewijn (mondelinge informatie).

Olst, K. Rusticus (mondelinge informatie en documentatie).

Rijswijk, Agfa-Gevaert (mondelinge informatie van F. Hemerik).

Velp, E. Brokke (mondelinge informatie en documentatie).

Wychen, F. Sars (mondelinge informatie).

Zelhem, F. Hazelhoff (mondelinge en schriftelijke informatie).

Collections

Leiden, Prentenkabinet van de Rijksuniversiteit Leiden.