PhotoLexicon, Volume 25, nr. 39 (March 2008) (en)

­Alewijn Oostwoud Wijdenes

Ingeborg Th. Leijerzapf


Alewijn Oostwoud Wijdenes is a little-known photographic artist who has worked on a remarkable oeuvre outside the mainstream of photographic developments in the Netherlands since the 1960s. In his poetic and staged photography, a surrealistic and sometimes offbeat world comes to life. Wijdenes works in close collaboration with the artist Jan Reus.




Alewijn Matthijs (Alewijn) Oostwoud Wijdenes is born on 2 June in Winkel, in the province North Holland as the son and eldest child of Jan Oostwoud Wijdenes and Maartje de Leeuw.


Alewijn’s parents purchase a farm with the name of ‘Waterloo’ at Dorpsstraat 64 in Winkel. They begin a flower bulb company.


Oostwoud Wijdenes’ sister, Marianna, is born.


Oostwoud Wijdenes attends the ULO (Uitgebreid Lager Onderwijs, ‘Advanced Primary Education’) in Winkel.


On his birthday, Oostwoud Wijdenes receives an Agfa box camera. He uses this camera primarily to take shots of nature in the vicinity of his parental home. He also takes portraits of family members and friends.


After more than two years at the ULO, Oostwoud Wijdenes reaches the age when he is old enough to attend the Middelbare Tuinbouwschool (‘Secondary Horticultural School’) in Hoorn. Because of his previous studies, he is allowed to skip two preparatory years. He completes his final exam at horticultural school after two years and begins working for his parents’ business. Besides working in the family business, Oostwoud Wijdenes has his own piece of land on which flower bulbs are cultivated.

During the years of the German occupation, he photographs whenever he has film at his disposal (including paper film).


Alewijn Oostwoud Wijdenes’ father Jan dies and leaves the business to his son.

Jan Reus (born in Grootebroek in 1949) is hired as a farm hand.


During three winter seasons, Oostwoud Wijdenes and Jan Reus take classes in drawing given by the painter Tjeerd Sötemann in Warmenhuizen.

From 1968

Oostwoud Wijdenes submits photos to photography salons abroad.


Oostwoud Wijdenes is awarded the title of BMK (Bonds Meesterklasse, ‘Federation’s Master Class’) by the BNAFV (Bond van Nederlandse Amateur Fotografen Verenigingen, ‘Federation of Netherlands Amateur Photographers Associations’) in May of this year based on his submission of twenty photos.

In August, Oostwoud Wijdenes makes his public debut—together with Jan Reus—with an exhibition at the Vreeburg Muesum in Schagen (in the province of North Holland).


The first extensive publication of Oostwoud Wijdenes’ photos appears in August in the German magazine Reflex. Das Journal für Foto, Kino und Ton (‘Reflex. The Journal of Photo, Film and Sound’).


Oostwoud Wijdenes works chiefly in black and white until 1982, at which time he begins working more frequently in colour. In 1996, he switches completely to colour photography.


Oostwoud Wijdenes sells his land and his flower bulb business, but keeps the farm on the Dorpsstraat as a home and studio—partially for himself and partially for Jan Reus. Oostwoud Wijdenes devotes all of his time and energy to photography and music, while Jan Reus focuses on painting, with various temporary jobs on the side.


Together with Jan Reus, Oostwoud Wijdenes receives a commission from the library in Hippolytushoef to do a reportage on day-care and healthcare centres for the mentally disabled in North Holland. The reportage serves to promote a nationwide fund for the mentally disabled.


Oostwoud Wijdenes has the barn of his former farm converted into an exhibition space. The opening of this ‘Waterloo Gallery’ takes place on 14 July.


At Gallery Waterloo, Oostwoud Wijdenes and Reus organise summer exhibitions of their own work and that of other artists in the province of North Holland.


Oostwoud Wijdenes accepts a commission to make transparencies for The Lord of the Rings, a symphony in five parts that Johan de Meij composes based on the book of the same name by the writer J.R. Tolkien (1892-1973). The transparencies accompany the concerts on 16 and 17 November performed in the Michaëlskerk (‘St. Michael’s Church’) in Oosterland. Prints of the transparencies are exhibited at the church.


In his youth, Alewijn Oostwoud Wijdenes developed a passion for photography that has never subsided. Music was, and still is, his second love. As a ‘conveyer of mood’, it cannot be seen separately from his creative photographic expression. Musical performances, such as the Préludes by Claude Debussy, inspire images in Oostwoud Wijdenes, which he subsequently uses to create colour photos.

Due to the many responsibilities that come with running one’s own flower bulb company, Oostwoud Wijdenes never had the time to play an active role in the world of the photographic trade associations or visit museums on a frequent basis. One employee working for his business, the painter Jan Reus, liked to travel and attended countless exhibitions. Oostwoud Wijdenes took Reus’ inspiring stories of the things he observed and translated them into concise, stylised scenes in photography. In these images, various employees at the company, and especially Reus, figure prominently as actors.

As a photographer, Oostwoud Wijdenes is largely an autodidact. Simple darkroom work, e.g. developing, rinsing, and retouching, were taught to him by the local professional photographers in the villages of Winkel and Nieuwe Niedorp. His feeling for art and music were obtained in the family home. Both parents played piano, and in addition, his father played clarinet and his mother violin. Oostwoud Wijdenes’ mother had grown up among artists in her parents’ café, called ‘Land’s Welvaren’, in Schoorldam, where Picasso was a regular customer for an entire summer. Charley Toorop was also a regular at the café, as were the brothers Piet and Matthieu Wiegman. With her own engaging stories about artists, Alewijn’s mother inspired her son to seek own artistic aspirations. Starting at the age of fourteen, he became enamoured of photography. He also played piano and performed in (operetta) bands.

In the 1960s—by this time already an independent tulip grower—Oostwoud Wijdenes and his co-worker Jan Reus were conducting long discussions about the language of images, absurdity in everyday life, convention, taboos, and the narrowness of thinking. These conversations fed both men’s fantasy. As well inspired by what he encountered photography magazines and books, Oostwoud Wijdenes developed his photographic vision.

Oostwoud Wijdenes and Reus became intrigued with toying with reality. Utilising their own visual means, they examined ways to bend reality into what they themselves refer to as ‘estranged realism’. They worked out their fantasy worlds in photographic and painted scenes, each in their own way, but with the one most definitely influencing the other. Oostwoud Wijdenes and Reus found their role models in surrealistic painting and photography of the second half of the 1960s, in the films of Luis Bunuel, and in television programmes such as Monthy Python and Herenleed (of the Dutch broadcasting company, VPRO), all produced by like-minded image makers. Oostwoud Wijdenes admired photographers such as Sanne Sannes, Jean Loup Sieff and Chico Leydmann. His work, however, has more in common with the photography of Paul de Nooijer. This is to be observed primarily in his approach to composing offbeat visual narratives, in which humour and parody each play a role. Oostwoud Wijdenes provides an excellent example of ‘Magic Realistic’ photography of the 1960s, which, internationally, drew primarily the interest of autonomous (amateur) photographers. Thinking and working via concepts in visual art gave an extra stimulus to this movement in photography.

The subjects encountered in Oostwoud Wijdenes’ photography are diverse: portraits, staged scenes, nude men (sometimes also women), people in shortened perspective, non-communicating figures in the landscape, and symbolic attributes. The meaning of the photos is not always easy to discern. The subjects appear to be more of an introduction to a story that the observer can complete himself. Loneliness and isolation, as well as people’s inability to understand or deal with each other are recurring themes. Sometimes the photos are simply meant to be humorous, by confusing the observer through absurd situations. The frequent appearance of the male nude in Oostwoud Wijdenes’ photos—in the early 1970s by no means a common theme for (amateur) photographers—and the unmarried status of both artists, living and working together under one roof, has led some to describe his photography as homo-erotic. Yet this is not the message being conveyed by his models: the nude figure is instead part of the visual unravelling of reality. What appears as normal therefore suddenly becomes foreign.

Oostwoud Wijdenes’ photographs are based on ideas worked out in sketches. The camera is not used as a tool to ‘catch’ reality. The photographic image is determined not by what he sees, but what roams about in his spirit. He shares a like-mindedness spanning a century with artistic photographers of the impressionist movement circa 1900, without showing even the slightest resemblance to work produced at that time. Such a connection is nevertheless warranted. Just as with these forerunners, self-expression is the primary goal in Oostwoud Wijdenes’ photography, with symbolism as an important narrative visual tool. He is also seeking an internal idiom that rises to the surface based on moods and feelings, as well as by listening to and looking at other forms of art. His photos usually bear no titles, as he is unable to attach a verbal description to feelings associated with a particular photograph. In those cases where titles have been given, they function to provide information regarding the story behind the photo. The shot of a young man playing a clarinet in the church of Warmenhuizen in the middle of an exhibition, for instance, is called To Moussorgski, as a tribute to the composer who wrote the musical piece Pictures at an Exhibition.

In 1985, the public library in the village of Hippolytushoef asked Oostwoud Wijdenes and Reus to make a photo reportage on the care of the mentally disabled in the province of North Holland, marking the occasion of a nationwide fundraising week. The invitation came from a committee member who had visited their home and viewed a small private collection of photographic depictions of disabled people. The reportage that came out of this falls outside the framework of the two men’s ideas concerning free expression. In more than 150 documentary photos, they presented a diverse and realistic image of the conditions in the places where disabled people live: the patient care, their daily activities, their interactions with each other, contacts with family and caregivers, their happiness and their sadness. The photos provide both a general overview and close-ups of the residents in their living environments. For decades, the mentally disabled lived their lives out of society’s view. Since the publication of Ad Windig’s photobook In het land der levenden (‘In the Land of the Living’) in 1966, the subject was not again broached by Dutch photographers until the 1980s. In the aftermath of the exhibition accompanying the reportage made by Oostwoud Wijdenes and Reus, the topic received additional notoriety in 1988 with the appearance of the photobook Bezwaard Bestaan (‘Encumbered Existence’) by Marrie Bot, a photographer in Rotterdam. In each case, the approach taken by Windig, Oostwoud Wijdenes, Reus and Bot was: documentation with respect for the person portrayed. The differences between Windig and Bot, on the one hand, and Oostwoud Wijdenes and Reus, on the other, are evident. With the first two photographers, the emphasis lay more on the individual, achieved by taking serene shots and by isolating the person portrayed from the rest of the group. With the latter two, the depictions featured primarily the patients’ social surroundings.

An entirely different kind of commission was a series of photos, entitled In de ban van de Ring (‘The Lord of the Rings’), which Oostwoud Wijdenes made in 1996 to accompany the five-part symphony written by the composer Johan de Meij. Based on imaginary representations inspired by Tolkien’s epic, Oostwoud Wijdenes made compositions of shadowy fantasy creatures in combination with floral elements found in his garden. According to the reviews at the time, the combination of a musical performance with the reading aloud of fragments from Tolkien’s book and Oostwoud Wijdenes’ slideshow in the Michaëlskerk (‘St. Michael’s Church’) in Oosterland was experienced as extraordinary and compelling. Without the added atmosphere and the entourage of words and music, these photos come across as somewhat contrived. Besides this series, Oostwoud Wijdenes has also produced dream-like compositions in colour, in which representations of paintings and human figures are placed in natural soundings.

The tools that Oostwoud Wijdenes used to create his black-and-white photos were 35 mm cameras, including various Nikon cameras, with telephoto and wide-angle lenses, negative material with a coarse grain, and hard paper for black-and-white photos printed in high contrast and rather sombre. Although never a real lover of darkroom work, Oostwoud Wijdenes has experimented with darkroom techniques such as reticulation (a bubbling effect in the gelatin, which occurs when there are large differences in the temperatures of various baths) and burn. The finishing of these prints, however, shows little nuance or detail. In Oostwoud Wijdenes’ vision, glutted areas of black—perhaps considered by some to be technically imperfect—served to strengthen subjects that are melancholy and introverted. Oostwoud Wijdenes staged his photos and made preparatory sketches in advance. He would then go out in search of suitable locations, models, and lighting conditions, in an effort to construct a particular image according to his own stipulations. He sometimes compiled his black-and-white photos using various different negatives.

Oostwoud Wijdenes worked chiefly in black and white, but from 1982 on, he began trying out colour as well. Unlike his black-and-white prints, colour photos were printed at a colour photo lab instead of his own darkroom. In 1996, Oostwoud Wijdenes permanently shut down his darkroom due to health complications, from that point on switching to colour alone. Since 1989, he has produced layered colour images by means of the ‘sandwich’ technique: with the help of a Novoflex copying machine, he copies two slide positives with one placed on top of the other. With the resulting copy, he subsequently repeats this step, adding a third slide.

Alewijn Oostwoud Wijdenes’ photographic oeuvre is a surprising divergence from the work of the average Dutch (amateur) photographer. The explanation for this lies chiefly in the unusual subjects he chose to depict. Oostwoud Wijdenes’ photography is rooted in the ‘Magic Realist’ movement in photography of the 1960s and ’70s, but it has always remained purely photographic, as opposed to the many ‘cut-and-paste’ works produced during this period. Oostwoud Wijdenes composes—relying on models who role-play in natural surroundings—a compact visual narrative within the framework of a single photo. One might compare his style of working to that of a columnist, who, applying a moderate degree of moralism, upends existing conventions via short texts, allows unexpected twists and turns to occur in his stories, and holds up a mirror for humanity to see itself with a touch of mild jest.


Primary bibliography

A.M. Oostwoud Wijdenes (foto’s) en Jo van Schagen (tekst), Een blik op Noord-Holland-Noord. Fotografische reis langs de mensen en de plekjes, Alkmaar (Onderlinge Ziektekostenverzekering Noord-Holland-Noord U.A.) z.j.

Catalogus tent. IV Trofeo Fotografico Internazionale Toro Assicurazioni, Turijn 1973. ongepag.

Jan Smit en Herman Fijnheer, Winkel en Lutjewinkel. Het verleden in foto’s en verhalen, Schagen (Drukkerij Plukker) 1981, omslag.

Secondary bibliography

D.P. van Wigcheren, Huize Vreeburg sluit seizoen af. Schilderijen en foto’s, in Schager Courant 1 september 1971.

Anoniem, A.M. Oostwoud Wijdenes. Drie exposities van poëtische foto’s, in Noordhollands Dagblad 15 januari 1972.

D.P. van Wigcheren, Fotografie als beeldend middel. Oostwoud Wijdenes regisseur van een absurde wereld, in Schager Courant 15 januari 1972.

Kees Komen, Voor A.M. Oostwoud Wijdenes ligt creatieve werk in de opname; niet in de donkere kamer…, in Noorhollands Dagblad 19 januari 1972.

Anoniem, Surrealistische tendens op Waardse expositie. Jan Reus en Alewijn Oostwoud Wijdenes, in Noordhollands Dagblad 19 mei 1972.

D.P. van Wigcheren, In de Waard, in Alkmaarsche Courant 23 mei 1972.

Anoniem, Surreales, in Reflex. Das Journal fü̈r Foto, Kino und Ton 16 (augustus 1973) 4, p. 16-23 (met foto’s).

Anoniem, Foto’s van A.M. Oostwoud Wijdenes in de Blinkerd, in De Duinstreek 20 april 1974.

Anoniem, Fotograaf en schilder houden gezamenlijke expositie in raadhuis, in Texelse Courant 15 juli 1975.

Anoniem, Nieuwe expositie in Oosterland, in Wieringer Courant 26 (15 juli 1975) 59.

Anneke Korver, De werkelijkheid op twee manieren verbeeld. Toer-in expositie in Oosterland, in Noordhollands Dagblad 6 augustus 1975.

Anoniem, Poppen, foto’s en schilderijen op expositie in Michaëlskerk, in Wieringer Courant 26 (6 augustus 1975) 61.

Anoniem [= Ton Raap], A.M. Oostwoud-Wijdenes en J. Reus: klasserijke autodidakten, in Schager Weekblad (2 november 1977) 44, p. 1.

Anoniem, A.M. Oostwoud-Wijdenes en J. Reus: klasserijke autodidakten, in Helders Weekblad (3 november 1977) 44, p. 9.

Jan Smit, Jan Reus en Alewijn Oostwoud Wijdenes in KCB Bergen, in Noordhollands Dagblad 27 juli 1979.

M.H., Surrealistisch foto- en schilderwerk in Bergen. Van bollenkwekers en kunstenaars, in Alkmaarsche Courant 6 augustus 1979.

Anoniem, Vreemde foto’s, in Schager Courant 8 augustus 1979.

Anoniem, Drie kunstenaars, in De Telegraaf 10 augustus 1979.

E.B., Alewijn Oostwoud en Jan Reus. Foto’s en schilderijen in Waards raadhuis, in Noordhollands Dagblad 5 november 1980.

Alewijn Oostwoud Wijdenes: een hekel aan navolging, in Foto 37 (september 1982) 9, p. 62-65 (met foto’s).

Anoniem, Knap en veelomvattend werk Alewijn Oostwoud, in Schager Courant 7 september 1983.

Jan Smit, Fotografische kunst A.M. Oostwoud Wijdenes in Gemeentemuseum, t/m 30 september, in De Niedorper (9 september 1983) 33, p. 22-23.

Piet Hein Zijl, Alewijn Oostwoud Wijdenes, een fotograaf die zin geeft aan het zinloze, in Noord-Holland Magazine 3 (november 1983) 2, p. 51-53.

Anoniem, Foto-expositie geestelijke gehandicapten in bibliotheek Hippolytushoef, in Wieringer Courant 8 oktober 1985.

Anoniem [= Erik Panhuis], Foto-expositie uniek door aparte techniek. Naast keramiek van René Franken, in Schager Courant 11 juli 1986.

Anoniem, Expositie in kerkje van Winkel, in De Schager Zon (4 juli 1988) 30, p. 1.

Anoniem, Schilder Jan en fotograaf Alewijn verbeelden relaties, in De Schager Zon (4 juli 1988) 30, p. 2.

S.D., Abstractie en romantiek in Kunstuitleen in Leeuwarder Courant 11 mei 1990.

Anoniem, ‘Gewoon een privégalerie, we zien nog wel of het storm loopt’. Jan Reus en Alewijn Oostwoud Wijdenes openen Winkels ‘Waterloo’, in Schager Courant 11 juli 1990.

Anoniem, ‘Muziek werkt hetzelfde als een geur uit het verleden…’. Werk van schilder en fotograaf te zien in Galerie Waterloo, in Onze Krant Schagen 14 (7 augustus 1990) 32, p. 1.

Anoniem, ‘Berichten’ uit een sfeerrijk tableau vivant in Winkel. Vervreemd schilder-realisme en fijngevoelige fototechniek, in Schager Courant 19 september 1900.

Sigrid van Iersel, Stil parkje met perken en zerken. Begraafplaatsen in Noordkop: verrassende monumenten en doodstil, in Schager Courant 19 januari 1991.

Anoniem, Uitwisseling gestart van Friese en Westfriese beeldend kunstenaars, in Schager Courant 3 juli 1991.

Anoniem, Expositie in galerie Waterloo, in Schager Weekblad (10 juli 1991) 28.

Anoniem, Sfeervolle fotografieën, ruimtelijk werk en keramieken in Waterloo’, in Schager Courant 20 juni 1992.

Eric Beets, Kunst kijken in De Vest, in Alkmaarse Courant 21 februari 1992.

Anoniem, ‘Sprekende’ drieluiken, in Schager Courant 1 juli 1993.

Peter Zethoven, Drieluiken en fotografie in Waterloo: groteske realiteit, in Schager Courant 29 juni 1994.

Anoniem, Pure poëzie in kunstenaarstuin, in Noordhollands Dagblad. Schager Courant 6 mei 1995.

Rob Bouber, Twee kunstenaars wroeten als tegenwicht in weelderige tuin, in Noordhollands Dagblad. Schager Courant 22 juni 1995.

Anoniem, Galerie ‘Waterloo’, in De Koggelander 30 juli 1995.

Marion Lont, Fotografische hoogstandjes Alewijn Oostwoud Wijdenes, in Noordhollands Dagblad. Schager Courant 9 oktober 1996.

Frank Oudmaijer, Hollandse luchten vreten energie, in Noordhollands Dagblad. Schager Courant 31 oktober 1996.

A3G, Apollo mag trots zijn op bijzondere uitvoering, in Wieringermeerbode 19 november 1996.

Anoniem, Materiële holheid, enge droombeelden en andere bezielde kunstwrochtsels, in Noordhollands Dagblad. Schager Courant 14 mei 1997.

Anoniem, Rondleiding door galerie Waterloo in Winkel: Fascinerend, interessant, eigenzinnig en zó direct, in Schager Weekblad 15 mei 1997.

Marion Lont, Metafyschisch [sic] uitingen en geest van natuur verbeeld, in Noordhollands Dagblad. Schager Courant 17 juni 1998.

Peter Zethoven, Jan Reus: dertig jaar zoeken naar diepere zin der dingen, in Noordhollands Dagblad. Schager Courant 30 juni 1999.

T.L. [= Ingeborg Leijerzapf], Alewijn Oostwoud Wijdenes, in Wim van Sinderen (red,), Fotografen in Nederland. Een anthologie 1852-2002, Amsterdam/Gent/Den Haag (Ludion/Fotomuseum Den Haag) 2002, p. 298-299.

Peter Zethoven, ‘De uitdaging is met één beeld alles zeggen’, in Noordhollands Dagblad. Schager Courant 28 december 2002 (met foto’s).

Peter Zethoven, Expositie Waterloo met spannende kunst, in Noordhollands Dagblad. Schager Courant 6 mei 2003.

Bert de Vries (tekst), Oerlangd. Wielingen landschap en kunst, Den Oever (Culturele Kring Wieringen) juli 2005, p. 91-93.

Peter Zethoven, De stoel van Picasso staat nu in Winkel, in Noordhollands Dagblad. Schager Courant 12 juli 2003.

Peter Zethoven, Galerie Waterloo Winkel wordt een kunstpodium in Noordhollands Dagblad. Schager Courant 25 oktober 2005.



Kunstenaarscentrum Bergen.

Photographic Society of America [in ieder geval in 1970 lid].

SBK Hoorn, selectiecommissie tot 1978.


1969 Diploma, Gent.

1970 Medaille, Michelangelo-tentoonstelling, Marina di Pietrasanta, Italië, mei 1971 Eretitel BMK. (Bondsmeesterklasse) van de Nederlandse Bond van Amateur-Fotografenverenigingen.

1973 Zilveren beker voor beste zwartwit foto van de Camera di Commercio Industria, Artigianato e Agricoltura di Bari, IV Trofeo Fotografico Internazionale Toro Assicurazioni, Turijn.


Vanaf 1968 inzendingen naar fotosalons in het buitenland, o.a. in Engeland, België, Frankrijk, Italië, Tsjechoslowakije, Verenigde Staten en Zuid-Afrika.

1970 (g) Marina di Pietrasanta, [Michelangelo-tentoons telling].

1971 (g) Schagen, Vreeburg, [Jan Reus, schilderijen en A.M. Oostwoud Wijdenes, foto’s].

1972 (e) Heerhugowaard, Openbare bibliotheek.

1972 (g) Heerhugowaard, Raadhuis, Foto’s A.M. Oostwoud Wijdenes, schilderijen Jan Reus.

1972 (e) Schoorl, De Blinkerd.

1972 (e) Ursum, Openbare bibliotheek.

1973 (g) Turijn, IV Trofeo Fotografico Internazionale Toro Assicurazioni (reizende tentoonstelling: Bari en Palermo).

1974 (g) Albuquerque (New Mexico), Sixteenth International Pictorial Print Salon (New Mexico State Fair).

1975 (g) Den Burg, Raadhuis, [Alewijn Oostwoud Wijdenes en Jan Reus].

1975 (g) Hoorn, Park-gallery, A.M. Oostwoud Wijdenes. Jan Reus. Foto’s-schilderijen.

1975 (g) Oosterland, Michaëlskerk, [A.M. Oostwoud Wijdenes, foto’s, Jan Reus, schilderijen, Marijke Crèvecoeur, poppen].

1977 (g) Zaandam, De Zienagoog, [Jan Reus, olieverfschilderijen en Alewijn Oostwoud Wijdenes, foto’s].

1978 (g) Winkel, Dorpstraat 64, [Alewijn Oostwoud Wijdenes en Jan Reus].

1979 (g) Bergen (nh), Kunstenaarscentrum Bergen, Jan Reus – olieverfschilderijen, Iet Cool – keramiek, Alewijn M. Oostwoud Wijdenes -fotografie.

1983 (e) Niedorp, Gemeentehuis Niedorp.

1984 (g) Hoorn, De Boterbal, Zes KCB exposanten.

1985 (g) Hippolytushoef, Openbare Bibliotheek, [Alewijn Oostwoud Wijdenes en Jan Reus; foto-expositie gehandicapten].

1986 (g) Schagen, Museum Vreeburg, [Alewijn Oostwoud Wijdenes, foto’s en René Franken, keramiek].

1988 (g) Winkel, Nederlands Hervormde Kerk, (Jan Reus, schilderijen en Alewijn Oostwoud Wijdenes, foto’s].

1990 (g) Winkel, Galerie Waterloo, [Jan Reus, schilderijen en Alewijn Oostwoud Wijdenes, foto’s].

23.9.1990 (g) Winkel, Galerie Waterloo, [exposite tijdens bloemencorso: Jan Reus (drieluiken ) en Alewijn Oostwoud Wijdenes (foto’s)].

1991 (g) Amsterdam, Galerie Cheiron, Alewijn Oostwoud Wijdenes kunstfotografie Jan Reus drieluiken olieverf op paneel.

1991 (g) Winkel, Galerie Waterloo, [Jan Reus, Alewijn Oostwoud Wijdenes en Ada Stel].

1992 (g) Alkmaar, S.B.K. ruimte Cultureel Centrum De Vest, Jan Reus schilderijen, A.M. Oostwoud Wijdenes foto’s.

1992 (g) Tjerkwerd, Galerie Artisjok, [Alewijn Oostwoud Wijdenes en Gert de Rijk].

1992 (g) Winkel, Galerie Waterloo, Zomer Expositie [Marjie Friesz,Jan Reus, Alewijn Oostwoud Wijdenes, Jikke van den Waal-Bijma]

1993 (g) Winkel, Galerie Waterloo, [Jan Reus en Alewijn Oostwoud Wijdenes].

1994 (g) Winkel, Galerie Waterloo, [Alewijn Oostwoud Wijdenes en Jan Reus].

1995 (g) Winkel, Galerie Waterloo, [Jan Reus, Alewijn Oostwoud Wijdenes, e.a.].

1996 (g) Niedorp, Gemeentehuis Niedorp, [Alewijn Oostwoud Wijdenes, Jan Reus en Fotoclub Niedorp].

1997 (g) Winkel, Galerie Waterloo, [Joyce van Bruggen-den Boer, Annemarie Dekker, Arme Douma, Thea Hoek, Alewijn Oostwoud Wijdenes, Jan Reus, Koos Zwiers].

1998 (g) Winkel, Galerie Waterloo, [Jan Reus, Alwijn Oostwoud Wijdenes, Frits Moseman, Diet Zwartsenburg, Annie Douma, Martin Klaver en Joyce van Bruggen-den Boer].

2002/2003 (g) Den Haag, Fotomuseum Den Haag, Fotografen in Nederland 1852-2002.

2003 (g) Winkel, Galerie Waterloo, [Ronnie Knippen, Frits Moseman, Jan Reus, Alewijn Oostwoud Wijdenes].

2005 (g) Winkel, Galerie Waterloo , [Jan Reus en Alewijn Oostwoud Wijdenes].

2006 (e) Alkmaar, Stedelijk Museum.

2006 (g) Bergen n.h., Kunstenaarscentrum Bergen, De Tachtigers van het KCB.


Den Haag, Rijksdienst Beeldende Kunst, documentatie.

Leiden, Prentenkabinet Universiteitsbibliotheek Leiden, bibliotheek en documentatiebestand.

Winkel, Alewijn Oostwoud Wijdenes en Jan Reus (documentatie en mondelinge informatie).


Leiden, Prentenkabinet Universiteitsbibliotheek Leiden.