Tag Archives: Henk Pander

Link: Pander in war, Wilis on the loose

Henk Pander, "Resistance Asleep," oil, 1995.

By Bob Hicks

I just posted this story, Pander transported: memories of a time of war, on Oregon Arts Watch. It’s a look at Dutch-born Portland artist Henk Pander’s remarkable series of paintings and drawings at the Oregon Jewish Museum based on his childhood memories of World War II in his hometown of Haarlem. An excerpt:

“Even more cadaverous, and ravenous, is the 1999 ink drawing ‘Soup Kitchen,’ in which thin skull-eyed children bend over bowls of thin liquid. This might be Pander’s memory of the winter of 1944-45, the hongerwinter, a time of famine caused by harsh weather and a German blockade, during which those who survived (18,000 did not) did so partly on a diet of tulip bulbs and sugar beets. War is an act of waiting, and people wait in these drawings and paintings. They endure, if that’s the right word, and they anticipate, and they simply – wait. For the next bad thing. For the end of the next bad things.”


And in Friday’s A&E section of The Oregonian, my preview interview with the charming Lola de Avila, stager of Oregon Ballet Theatre‘s new version of Giselle, ran. Besides talking with de Avila, one of those great old-time dancers who wastes no time declaring that today’s dancers are better-trained (well, she’s one of the people doing the training), I spent a couple of hours in rehearsal watching her teach the corps de ballets how to act like perfectly ghastly Wilis. Which, of course, is what they’re supposed to be. You can read the story here.

ILLUSTRATION: Henk Pander, “Resistance Asleep,” oil, 1995. Courtesy Oregon Jewish Museum.

Pardon the interruption, s’il vous plait

Confessionals, Church Gesu Nuovo, Naples. Photo: Heinz-Josef Lücking/Wikimedia Commons.

By Bob Hicks

Bless us, Father, for we have sinned. It’s been six days since we entered our last post here at Art Scatter, which is just … embarrassant. Pardon, if you please. It’s not that we haven’t been busy. In fact, that’s the point. We’ve been so busy we haven’t had time to keep the faith and commit good bloggery. We’ll try to do better.

pandercatalogSo let’s play catch-up.


On Friday, having survived the Great February Blizzard of 2011, which dropped all of a third of an inch of snow on the Chez Scatter front lawn but managed to snarl the city and shut down its schools, Mr. Scatter took a tour down the valley to the Hallie Ford Museum of Art in Salem to catch Memory and Modern Life, an expansive retrospective of the oils, watercolors and drawings of Henk Pander, the Dutch-born Portland artist.

Continue reading Pardon the interruption, s’il vous plait

Onda calls it quits, Pander thinks big

Henk Pander, "Leviathan," oil on linen, 69" x 101", 2009. Laura Russo Gallery.

By Bob Hicks

Bad news arrived this morning for Portland art followers: Alberta Street mainstay Onda Gallery is shutting its doors at the end of the year. I’ve always liked gallery owner Allan Oliver and appreciated his efforts to make a home in Portland for the art of Latin America. Three years ago Oliver sold the space to Pablo Merlo Flores, whose wholesale business, Pampeana, represents Latin American gift and craft items across the United States. Oliver continued as gallery director. I’m sorry to see Onda disappear, and wish Allan the best.

Poster for this month's Onda Gallery exhibit. The party's almost over, friends.Here are excerpts from his announcement:

After twelve years at the forefront of the Alberta Street renewal, Onda Gallery will close its doors at the end of the year. The holiday show, featuring art work from Pacific Northwest, Cuban and Ecuadorian artists, will be the last art event at the gallery.

After assuming sole proprietorship in 2001, Allan Oliver curated over one hundred art shows with their openings on the Last Thursday of each month. His mission has been to introduce the Portland area art public to fine artists from Latin American countries, many of whom have presented their work in person, and to young, emerging and mid-career Latino artists living in the Pacific Northwest. …

The public and media are invited to the gallery’s final party on Saturday, November 20, 6-9 PM.


Today is First Thursday, which means new shows in a lot of the city’s galleries, and D.K. Row has several suggestions in this morning’s Oregonian on exhibits to hit. One to keep a special eye on is Henk Pander‘s exhibit of recent works at Laura Russo Gallery. That’s his painting Leviathan at the top of this post, and a leviathan is what it is — 69 inches tall and 101 inches wide.

Pander was born in the Netherlands and trained in the Dutch tradition, and he’s  been one of our most important artists for a long time. His technical skill is part of that. He’s also willing to go into psychological and social areas that are uncomfortable for a lot of artists and art viewers. As he gets older, his work seems to get even more profound. You may recall Martha Ullman West’s tribute to Delores Pander, his wife, who died in June of this year, and Henk’s piercing, loving, astonishing portrait of her that he painted the year before she died. I think we could be seeing some pretty amazing things in this show.



  • Henk Pander, “Leviathan,” oil on linen, 69″ x 101″, 2009. Laura Russo Gallery.
  • Poster for this month’s Onda Gallery exhibit. The party’s almost over, friends.

Delores Pander memorial Wednesday

Delores Pander “was made of stern stuff, but laughter and a zest for life itself were so much a part of her it’s hard to believe, or accept, that she’s gone,” Martha Ullman West wrote in this recent tribute.

Delores Pander, by Henk Pander, oil on canvas, 2009Friends and admirers of Pander, who died June 24 at age 71, are invited to a  memorial service on Wednesday, July 7. It will be at 7:30 p.m.  at St. David of Wales Episcopal Church, 3422 SE Harrison St., Portland.

Pander, wife and partner of artist Henk Pander, also worked many years with authors Ursula K. Le Guin and Jean Auel, as well as with the old Portland Dance Theater.

Delores Pander, 1938-2010

Henk Pander, portrait of Delores Rooney, December 2009. 54" x 64", oil on linen. Courtesy of the artist.

Graceful, intelligent and hard-working, Delores Pander generally stayed behind the scenes of Portland’s arts world, where she had a habit of making sure the scenes were working precisely the way they ought to. Born on Aug. 16, 1938, she died of cancer on Thursday, June 24, 2010. For many years she was the wife and partner of the Dutch-born Portland painter Henk Pander, one of our best and most important artists, whose work has fused the long tradition of Dutch art with the frontier edge of the Pacific Northwest and a keen outsider’s feeling for the American psyche. Art Scatter senior correspondent Martha Ullman West, a longtime friend of Delores, offers this personal tribute.


By Martha Ullman West

Delores Pander died early Thursday morning after a long, hard, painful battle with cancer. Her accomplishments were many, her passion for knowledge profound, the reach of her love and loyalty and friendship broad and deep.

Henk Pander’s extraordinary portrait above of his beautiful wife, made in December of last year, says it all: she is surrounded by images representing the things that were most important to her — a ceramic made by her granddaughter Mary-Alice; the house she shared with Henk and Mary-Alice and several dogs for a number of years; a pile of books; and in her hand a book by Ursula Le Guin, another artist whom she helped with the practical details of work. Her favorite color was the deep, dark red that saturates the painting, and the lighter red shoes she’s wearing are emblematic of her love of pretty clothes.

Delores was years away from becoming an artist’s wife when I first met her in the fall of 1973 at David Nero and Associates, where I was an incompetent technical writer and she was the highly competent secretary for an educational research project to study Follow Through, a shortlived offshoot of Head Start. With her dark hair and sparkling eyes, her clear intelligence, her love of laughter, and the incredible speed, organization and efficiency with which she ran the office and kept our motley crew in line, she reminded me at once of my mother, who put all those attributes, including the dark-haired beauty, to work in the caring and feeding of my artist father.

Delores’s refusal to put up with any guff from those of us who were above her in the pecking order also reminded me of my mother. I’m ashamed to say I was a bit uppity with her at some point, and for Christmas she gave me an engagement calendar inscribed “to the writer from the typer-writer.”

Continue reading Delores Pander, 1938-2010