Posts Tagged ‘German painting

10
Jan
21

Exhibition: ‘Max Beckmann: feminine-masculine’ at Hamburger Kunsthalle, Hamburg

Exhibition dates:

Curator: Dr Karin Schick

 

 

Max Beckmann. 'Early humans – primeval landscape' 1939 (revised 1947/48)

 

Max Beckmann (German, 1884-1950)
Frühe Menschen – Urlandschaft
Early humans – primeval landscape

1939 (revised 1947/48)
Gouache, watercolour and ink
49.8 x 64.5cm
Courtesy of Daxer & Marschall, München
© VG Bild-Kunst, Bonn 2020
© Foto: Daxer & Marschall, München

 

 

If ever there were a time in history that I would like to go back to and work as an artist, it is most definitely the interwar years in Paris, or Berlin up until 1933 when the Nazis took control of German culture. I would have revelled in the freedom of expression, freedom of identity, sexuality, gender, New Objectivity (Neue Sachlichkeit), New Woman, news ways of experimentation, and new ways of thinking about the human condition (Jung, Freud, Benjamin). I would have been empowered as an artist to push the boundaries of conservative society, to break prescriptive and outdated cultural norms.

And so with Max Beckmann. There is a basic and fundamental feeling to his paintings, a primordial feeling, in which the artist breaks the boundaries of the taboo fully aware that there may be consequences for doing so. In his paintings Beckmann crafts his stories of passion, desire, mythology and the jouissance of everyday life, expressed through ever more delineated black-outlined caricatures which feature elongated claw-like hands, distorted bodies and mobile, multiple perspectives (see Das Bad (The bathroom) 1930, below). These paintings so generate and compose their own existence (their presence) – one which opposes conventional classical portraiture – that the Nazis labelled them De/generate Art. “Although not Jewish, he was beleaguered by the Nazis, who dismissed him from his teaching post in Frankfurt in 1933 and removed his “degenerate” work from public collections.” (NY Times)

As with any artist, the journey is the key to the development of the work. Look at the assured, slightly fey, well-dressed man in Beckmann’s classical Self-portrait, Florence (1907, below) and then compare it to his Self-Portrait with Horn (1938, below). In the first self-portrait Beckmann is aged 23, seemingly untouched by the vicissitudes of life, debonair, staring straight at the camera, ooh I mean mirror – sorry, canvas – the mouth held in a small thin line, eyes almost blank, cigarette in nonchalantly curled hand. Thirty one years later, age/d 54, Beckmann’s features (having lived through the desolation of the First World War, famine, revolution, the Great Depression, assassination, violence) are gnarled and wizened, his expression grim, his clothing that of a concentration camp inmate, his horn silent and occluded, reminding me of the hearing trumpet of the composer Beethoven. Unable to hear, not wanting to face, the clamour of the onrushing maelstrom.

Dr Marcus Bunyan

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Many thankx to the Hamburger Kunsthalle for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

Max Beckmann (German, 1884-1950) 'Self-portrait, Florence' 1907

 

Max Beckmann (German, 1884-1950)
Self-portrait, Florence
1907
Oil on canvas
98 x 90cm
Hamburger Kunsthalle Dauerleihgabe Nachlass Peter und Maja Beckmann
© VG Bild-Kunst, Bonn 2020
© Hamburger Kunsthalle / bpk
Foto: Elke Walford

 

Max Beckmann (German, 1884-1950) 'Self-Portrait with Horn' 1938

 

Max Beckmann (German, 1884-1950)
Self-Portrait with Horn
1938
Oil on canvas
101 x 110cm
Neue Galerie New York and Private Collection
Used under fair use conditions

 

Max Beckmann (German, 1884-1950) 'Adam and Eve' 1917

 

Max Beckmann (German, 1884-1950)
Adam and Eve
1917
Oil on canvas
79.8 x 56.7cm
Staatliche Museen zu Berlin, Nationalgalerie
Erworben mit Unterstützung der Ernst von Siemens Kunststiftung
© VG Bild-Kunst, Bonn 2020
© bpk / Nationalgalerie, SMB
Foto: André van Linn

 

Max Beckmann. 'Portrait of a Romanian (Portrait of Dr. Heidel)' 1922

 

Max Beckmann (German, 1884-1950)
Bildnis einer Rumänin (Bildnis Frau Dr. Heidel)
Portrait of a Romanian (Portrait of Dr. Heidel)
1922
Oil on canvas
100 x 65cm
Dauerleihgabe der Stiftung Hamburger Kunstsammlungen
© VG Bild-Kunst, Bonn 2020
© SHK / Hamburger Kunsthalle / bpk
Foto: Elke Walford

 

Max Beckmann. 'Portrait of Käthe von Porada' 1924

 

Max Beckmann (German, 1884-1950)
Bildnis Käthe von Porada (Portrait of Käthe von Porada)
1924
Oil on canvas
120 x 43cm
Städel Museum, Frankfurt am Main
© VG Bild-Kunst, Bonn 2020
© Städel Museum – ARTOTHEK
Foto: U. Edelmann

 

Max Beckmann. 'Portrait of Ludwig Berger' 1945

 

Max Beckmann (German, 1884-1950)
Bildnis Ludwig Berger (Portrait of Ludwig Berger)
1945
Oil on canvas
135.6 x 90.9cm
Saint Louis Art Museum, Bequest of Morton D. May
© VG Bild-Kunst, Bonn 2020
© Foto: Saint Louis Art Museum, Bequest of Morton D. May

 

Max Beckmann (German, 1884-1950) 'Das Bad' (The bathroom) 1930

 

Max Beckmann (German, 1884-1950)
Das Bad (The bathroom)
1930
Oil on canvas
174.9 x 121.3cm
Saint Louis Art Museum, Bequest of Morton D. May
© VG Bild-Kunst, Bonn 2020
© Foto: Saint Louis Art Museum, Bequest of Morton D. May

 

 

Max Beckmann: feminine-masculine is the first exhibition to examine in detail the often contradictory roles played by women and men in the works of Max Beckmann (1884-1950), one of the great artists of modernism and a potent interpreter of his times. With some 140 paintings, sculptures and works on paper, the show demonstrates the impressive breadth of this subject area in the artist’s oeuvre while enabling viewers to come to a deeper understanding of Beckmann’s multifaceted art. Important loans from public and private collections in Germany and abroad – including the Max Beckmann Estate, the Städel Museum, Frankfurt on the Main, the Saint Louis Art Museum, Missouri / USA, and the Stedelijk Museum in Amsterdam – supplement the Hamburger Kunsthalle’s extensive Beckmann holdings.

The exhibition explores both the historical significance of Beckmann’s paintings as well as their relevance in today’s world. His incisive self-portraits, his double portraits with his wives, the stately likenesses of his sponsors and patrons as well as his mythological and biblical figure paintings compellingly evoke basic constants of human togetherness: desire, devotion and conflict, power and powerlessness, the urge for freedom and the longing to become one with another human being.

Beckmann both exaggerated and blurred gender roles; he discovered tenderness in both female and male figures, power in the heroine as well as the hero. Fascinated by the myths of different cultures, he was familiar with the age-old notion that male and female once split off from a single, androgynous gender and are doomed to yearn forever to be reunified. The artist also read and commented on contemporary writings by Carl Gustav Jung and Otto Weininger that are still the subject of frequent discussion today and which explain individuality as a combination of female and male elements. Beckmann nonetheless liked to style himself as a manfully resolute interpreter of the world, an image that to this day dominates the reception of his work, hindering a more open understanding of his many-layered art.

Accompanying the exhibition are a richly illustrated scholarly catalogue (Prestel Verlag, Munich), an audio guide and regular theme-based guided tours (Saturdays at 3 pm). The museum education offerings uncover multiple perspectives on Beckmann’s art and enable visitors to take part in an on-site dialogue between the curator and further experts (for example on gender research). On 15 January 2021, the Kunsthalle will also host a public, international symposium on Beckmann’s multifaceted examination of the topic of “femaleness and masculinity”.

The exhibition Max Beckmann: feminine-masculine is a true highlight on the Hamburger Kunsthalle’s agenda for 2020. It represents a further instalment in a series of highly acclaimed exhibitions devoted to Beckmann’s art, including Self-Portraits (1993), Landscape as Stranger (1998) and Max Beckmann: The Still Lifes (2014).

Press release from the Hamburger Kunsthalle

 

Max Beckmann. 'Double portrait (Max and Mathilde Beckmann)' 1941

 

Max Beckmann (German, 1884-1950)
Doppelbildnis (Max und Mathilde Beckmann)
Double portrait (Max and Mathilde Beckmann)
1941
Oil on canvas
193.5 x 89cm
Collection Stedelijk Museum Amsterdam
© VG Bild-Kunst, Bonn 2020
© Foto: Stedelijk Museum, Amsterdam

 

Max Beckmann (German, 1884-1950) 'Messingstadt' 1944

 

Max Beckmann (German, 1884-1950)
Messingstadt (City of Brass)
1944
Oil on canvas
115 x 150cm
Saarlandmuseum – Moderne Galerie, Saarbrücken, Stiftung Saarländischer Kulturbesitz
© VG Bild-Kunst, Bonn 2020
© Saarlandmuseum – Moderne Galerie, Saarbrücken, Stiftung Saarländischer Kulturbesitz
Foto: Tom Gundelwein

 

 

Max Beckmann addresses the relationship between man and woman as the starting point for the repetitive torments of human existence. In this question too, he is inspired by the archetype of the fairy tale Messingstadt “Brass City”. (From “The Thousand and One Nights” or “Arabian nights”) In this story it is the hero Musa who manages to get inside the brass city. He enters a palace where he discovers a girl as “beautiful as the shining sun”. At the same time, he realises that it’s just her lifeless body.

Note: The Thousand and One Nights, also called The Arabian Nights, Arabic Alf laylah wa laylah, collection of largely Middle Eastern and Indian stories of uncertain date and authorship. Its tales of Aladdin, Ali Baba, and Sindbad the Sailor have almost become part of Western folklore, though these were added to the collection only in the 18th century in European adaptations.

 

Max Beckmann (German, 1884-1950) 'Odysseus and Calypso' 1943

 

Max Beckmann (German, 1884-1950)
Odysseus and Calypso
1943
Oil on canvas
150 x 115.5cm
Hamburger Kunsthalle
© VG Bild-Kunst, Bonn 2020
© Hamburger Kunsthalle / bpk
Foto: Elke Walford

 

 

Max Beckmann

Max Carl Friedrich Beckmann (February 12, 1884 – December 27, 1950) was a German painter, draftsman, printmaker, sculptor, and writer. Although he is classified as an Expressionist artist, he rejected both the term and the movement. In the 1920s, he was associated with the New Objectivity (Neue Sachlichkeit), an outgrowth of Expressionism that opposed its introverted emotionalism. His work became full of horrifying imagery and distorted forms with combination of brutal realism and social criticism.

 

Life

Max Beckmann was born into a middle-class family in Leipzig, Saxony. From his youth he pitted himself against the old masters. His traumatic experiences of World War I, in which he volunteered as a medical orderly, coincided with a dramatic transformation of his style from academically correct depictions to a distortion of both figure and space, reflecting his altered vision of himself and humanity.

He is known for the self-portraits painted throughout his life, their number and intensity rivalled only by those of Rembrandt and Picasso. Well-read in philosophy and literature, Beckmann also contemplated mysticism and theosophy in search of the “Self”. As a true painter-thinker, he strove to find the hidden spiritual dimension in his subjects (Beckmann’s 1948 Letters to a Woman Painter provides a statement of his approach to art).

Beckmann enjoyed great success and official honours during the Weimar Republic. In 1925 he was selected to teach a master class at the Städelschule Academy of Fine Art in Frankfurt. Some of his most famous students included Theo Garve, Leo Maillet and Marie-Louise von Motesiczky. In 1927 he received the Honorary Empire Prize for German Art and the Gold Medal of the City of Düsseldorf; the National Gallery in Berlin acquired his painting The Bark and, in 1928, purchased his Self-Portrait in Tuxedo. By the early 1930s, a series of major exhibitions, including large retrospectives at the Städtische Kunsthalle Mannheim (1928) and in Basel and Zurich (1930), together with numerous publications, showed the high esteem in which Beckmann was held.

His fortunes changed with the rise to power of Adolf Hitler, whose dislike of Modern Art quickly led to its suppression by the state. In 1933, the Nazi government called Beckmann a “cultural Bolshevik” and dismissed him from his teaching position at the Art School in Frankfurt. In 1937 the government confiscated more than 500 of his works from German museums, putting several on display in the notorious Degenerate Art exhibition in Munich. The day after Hitler’s radio speech about degenerate art in 1937, Beckmann left Germany with his second wife, Quappi, for the Netherlands.

For ten years, Beckmann lived in self-imposed exile in Amsterdam, failing in his desperate attempts to obtain a visa for the United States. In 1944 the Germans attempted to draft him into the army, although the sixty-year-old artist had suffered a heart attack. The works completed in his Amsterdam studio were even more powerful and intense than the ones of his master years in Frankfurt. They included several large triptychs, which stand as a summation of Beckmann’s art.

In 1948, Beckmann moved to the United States. During the last three years of his life, he taught at the art schools of Washington University in St. Louis (with the German-American painter and printmaker Werner Drewes) and the Brooklyn Museum. He came to St. Louis at the invitation of Perry T. Rathbone, who was director of the Saint Louis Art Museum. Rathbone arranged for Washington University in St. Louis to hire Beckmann as an art teacher, filling a vacancy left by Philip Guston, who had taken a leave. The first Beckmann retrospective in the United States took place in 1948 at the City Art Museum, Saint Louis. In St. Louis, Morton D. May became his patron and, already an avid amateur photographer and painter, a student of the artist. May later donated much of his large collection of Beckmann’s works to the St. Louis Art Museum. Beckmann also helped him learn to appreciate Oceanian and African art. After stops in Denver and Chicago, he and Quappi took an apartment at 38 West 69th Street in Manhattan. In 1949 he obtained a professorship at the Brooklyn Museum Art School.

He suffered from angina pectoris and died after Christmas 1950, struck down by a heart attack at the corner of 69th Street and Central Park West in New York, not far from his apartment building. As the artist’s widow recalled, he was on his way to see one of his paintings at the Metropolitan Museum of Art. Beckmann had a one-man show at the Venice Biennale of 1950, the year of his death.

 

Themes

Unlike several of his avant-garde contemporaries, Beckmann rejected non-representational painting; instead, he took up and advanced the tradition of figurative painting. He greatly admired not only Cézanne and Van Gogh, but also Blake, Rembrandt, and Rubens, as well as Northern European artists of the late Middle Ages and early Renaissance, such as Bosch, Bruegel, and Matthias Grünewald. His style and method of composition are partially rooted in the imagery of medieval stained glass.

Engaging with the genres of portraiture, landscape, still life, and history painting, his diverse body of work created a very personal but authentic version of modernism, one with a healthy deference to traditional forms. Beckmann reinvented the religious triptych and expanded this archetype of medieval painting into an allegory of contemporary humanity.

From his beginnings in the fin de siècle to the period after World War II, Beckmann reflected an era of radical changes in both art and history in his work. Many of Beckmann’s paintings express the agonies of Europe in the first half of the 20th century. Some of his imagery refers to the decadent glamour of the Weimar Republic’s cabaret culture, but from the 1930s on, his works often contain mythologised references to the brutalities of the Nazis. Beyond these immediate concerns, his subjects and symbols assume a larger meaning, voicing universal themes of terror, redemption, and the mysteries of eternity and fate.

His Self-Portrait with Horn (1938), painted during his exile in Amsterdam, demonstrates his use of symbols. Musical instruments are featured in many of his paintings; in this case, a horn that the artist holds as if it were a telescope by which he intends to explore the darkness surrounding him. The tight framing of the figure within the boundaries of the canvas emphasise his entrapment. Art historian Cornelia Stabenow terms the painting “the most melancholy, but also the most mystifying, of his self-portraits”.

Text from the Wikipedia website

 

Max Beckmann (German, 1884-1950) 'Venus – Mars' 1945

 

Max Beckmann (German, 1884-1950)
Venus – Mars
1945
India ink and watercolour
36,2 x 19.5cm
Private collection
© VG Bild-Kunst, Bonn 2020
© Foto: Privatbesitz

 

Max Beckmann. 'Two women (in glass door)' 1940

 

Max Beckmann (German, 1884-1950)
Zwei Frauen (in Glastür)
Two women (in glass door)
1940
Oil on canvas
80 x 61cm
Museum Ludwig, Köln
© VG Bild-Kunst, Bonn 2020
© Foto: Rheinisches Bildarchiv Köln

 

 

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Glockengießerwall 20095 Hamburg
Phone: +49 (0)40-428 131 204

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Thursdays 10am – 9pm
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13
Oct
17

Exhibition: ‘Portraying a Nation: Germany 1919-1933’ at Tate Liverpool

Exhibition dates: 23rd June – 15th October 2017

 

August Sander (1876-1964) 'The Painter Otto Dix and his Wife Martha' 1925-6, printed 1991

 

August Sander (German, 1876-1964)
The Painter Otto Dix and his Wife Martha
1925-1926, printed 1991
Photograph, gelatin silver print on paper
205 x 241mm
ARTIST ROOMS Tate and National Galleries of Scotland. Lent by Anthony d’Offay 2010
© Die Photographische Sammlung/SK Stiftung Kultur – August Sander Archiv, Cologne; DACS, London, 2017

 

Otto Dix (1891-1969) 'Hugo Erfurth with Dog' 1926

 

Otto Dix (German, 1891-1969)
Hugo Erfurth with Dog (Bildnis des Fotografen Hugo Erfurth mit Hund) 
1926
Tempera and oil paint on panel
800 x 1000mm
Museo Thyssen-Bornemisza, Madrid
© DACS 2017. Museo Thyssen-Bornemisza, Madrid

 

 

Writing sociology: picturing an uncertain cultural landscape

There is something completely unexpected in the strange correlation and synergy between the work of these two artists.

While it is inadvisable to compare and contrast (why pick those particular images out of thousands!), I have paired several images from the exhibition together in this posting. Let’s look at the pairing above.

Technically, Sander’s photograph of The Painter Otto Dix and his Wife Martha (1925-6) evidences a slightly flattened perspective especially in the “face on” aspect of the androgynous woman – but the photograph also possesses a surreal air, the silhouette of the woman’s hair contrasting with the swept back slickness of the man and his jutting, three-quarter profile. The unusual space between them adds admirably to the overall frisson of the photograph, it’s non/objectivity and performativity. In Dix’s painting Hugo Erfurth with Dog (1926) a greater distortion of perspective is in evidence. The mythic dog is painted as if photographed using a telephoto lens, while the man’s face is all over the place… the jaw elongated as if by using a wide angle lens, the front of the face flattened in an earnest manner. This is what painting can do, and is allowed to do, that photography can never match. But it doesn’t have to. It does it in a different way.

Here we need to excavate – that’s a good word for this investigation – we need to excavate the ethos in the zeitgeist. We need to understand the attitudes and aspirations of the cultural era in which these artists lived in order to comprehend the defining spirit of the period, as shown by the ideas and beliefs of the time. These artists emerge out of the same society, they inhabit the spirit of the age – those interwar years of the avant-garde, speed, and change; of poverty, postwar realities and politics; of The Great Depression, disfiguration and disenfranchisement.

I look at the obscurity of faces in Dix’s Assault Troops Advance under Gas (1924) and then adjust to the pensiveness of hand, pose and gaze in Sander’s Working Students (1926) … and then mentally add in Avedon’s later portraiture. Interesting. I look at Sander’s National Socialist, Head of Department of Culture (c. 1938) and note the “exemplary mastery of illumination”, but just as distinctively the averted gaze, the line on head where the unnamed man (who is he? what was his name?) had just taken his cap off. Just below is Dix’s Self-Portrait with Easel (1926) with three-quarter profile, piercing stare, bent finger. Who is capturing reality here? No body.

In his own way, Sander plays with the reality of time and space just as much as Dix. In my mind, Sander’s “staged performativity and the artifice of construction [which] is paramount to the surreal effects created,” are no less un/real than the paintings of Dix. There are things that just don’t fit. The strangeness of the era, the creation of these non/objective environments, cause an alignment of the stars between both artists. This is inspired curating, to bring these two extra-ordinary talents together.

These artists walked the same streets, they breathed the same air. They excavated the spirit of the age. And in so doing, their art becomes impervious to time.

Dr Marcus Bunyan

.
Many thankx to Tate Liverpool for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

“We want to see things completely naked, clear, almost without art. I invented the New Objectivity.”

.
Otto Dix, 1965

 

German artist Otto Dix was a committed painter of portraits. At a time when photography had diminished portraiture’s importance and the genre was seen as a deeply unfashionable pursuit for so-called serious artists, he was making a living – and cementing his reputation – out of exactly that. He commented:

“Painting portraits is regarded by modernist artists as a lower artistic occupation; and yet it is one of the most exciting and difficult tasks for a painter.”

 

 

Otto Dix (1891-1969) 'Reclining Woman on a Leopard Skin' 1927

 

Otto Dix (German, 1891-1969)
Reclining Woman on a Leopard Skin (Liegende auf Leopardenfell) 
1927
Oil paint on panel
680 x 980mm
© DACS 2017. Collection of the Herbert F. Johnson Museum of Art, Cornell University. Gift of Samuel A. Berger

 

 

Dix was a key supporter of the New Objectivity (Neue Sachlichkeit) movement, a name coined after an exhibition held in Mannheim, Germany in 1925. Described by art historian G.F. Hartlaub, as ‘new realism bearing a socialist flavour’, the movement sought to depict the social and political realities of the Weimar Republic.

 

August Sander (1876-1964) 'Bohemians [Willi Bongard, Gottfried Brockmann]' c. 1922-5, printed 1990

 

August Sander (German, 1876-1964)
Bohemians [Willi Bongard, Gottfried Brockmann]
c. 1922-1925, printed 1990
Photograph, gelatin silver print on paper
189 x 250mm
ARTIST ROOMS Tate and National Galleries of Scotland. Lent by Anthony d’Offay 2010
© Die Photographische Sammlung/SK Stiftung Kultur – August Sander Archiv, Cologne; DACS, London, 2017

 

 

Tate Liverpool presents the faces of Germany between the two World Wars seen through the eyes of painter Otto Dix (1891-1969) and photographer August Sander (1876-1964). Portraying a Nation: Germany 1919-1933 brings together two artists whose works document the glamour and misery of the Weimar Republic, a time of radical extremes and political and economic upheaval.

Portraying a Nation, which exhibits Dix and Sander as a pair for the first time, reflects a pivotal point in Germany’s history, as it introduced democratic rule in the aftermath of the First World War. The period was one of experimentation and innovation across the visual arts, during which both artists were concerned with representing the extremes of society, from the flourishing cabaret culture to intense poverty and civilian rebellions.

Featuring more than 300 paintings, drawings, prints and photographs, Portraying a Nation unites two complementary exhibitions. Otto Dix: The Evil Eye explores Dix’s harshly realistic depictions of German society and the brutality of war, while ARTIST ROOMS: August Sander presents photographs from Sander’s best known series People of the Twentieth Century, from the ARTIST ROOMS collection of international modern and contemporary art.

The exhibition focusses on the evolution of Dix’s work during his years in Düsseldorf, from 1922 to 1925, when he became one of the foremost New Objectivity painters, a movement exploring a new style of artistic representation following the First World War. Dix’s paintings are vitriolic reflections on German society, commenting on the country’s stark divisions. His work represents the people who made up these contradictions in society with highlights including Portrait of the Photographer Hugo Erfurth with Dog 1923, Self-Portrait with Easel 1926, as well as a large group of lesser known watercolours. Dix’s The War 1924 will also form a key element of the exhibition, a series of 50 etchings made as a reaction to and representation of the profound effect of his personal experiences of fighting in the First World War.

Sander’s photographs also observe a cross-section of society to present a collective portrait of a nation. Sander commenced his major photographic project People of the Twentieth Century in 1910, an ambitious task that occupied him until the 1950s. The project resulted in more than 600 images in which people were categorised into what he described as ‘types’, including artists, musicians, circus workers, farmers and, in the late 1930s, images of Nazi officers. More than 140 photographs from the ARTIST ROOMS collection will be displayed to create a large-scale timeline of Weimar Germany, placing individual subjects against a backdrop of the era’s tumultuous cultural and political history.

Portraying a Nation: Germany 1919-1933 is made up of Otto Dix: The Evil Eye, Kunstsammlung Nordrhein-Westfalen, Düsseldorf and ARTIST ROOMS: August Sander, an exhibition of works from the ARTIST ROOMS collection of international modern and contemporary art.

The ARTIST ROOMS collection is jointly owned by National Galleries of Scotland and Tate on behalf of the public, and was established through The d’Offay donation in 2008 with the assistance of the Heritage Memorial Fund, Art Fund and the Scottish and British governments. It is shared with UK museums and galleries including Tate, National Galleries of Scotland and a network of Associate venues through ARTIST ROOMS On Tour, which is a partnership until 2019 with lead Associate Ferens Art Gallery, supported by the National Lottery through Arts Council England, Art Fund and the National Lottery through Creative Scotland.

Otto Dix: The Evil Eye is curated by Dr Susanne Meyer-Büser, Kunstsammlung Nordrhein-Westfalen, Düsseldorf, Francesco Manacorda, Artistic Director and Lauren Barnes, Assistant Curator, Tate Liverpool. ARTIST ROOMS: August Sander is curated by Francesco Manacorda, and Lauren Barnes, Assistant Curator, with the cooperation of ARTIST ROOMS and the German Historical Institute.

Press release from Tate Liverpool

 

Otto Dix (1891-1969) 'Assault Troops Advance under Gas (Sturmtruppe geht unter Gas vor) '1924

 

Otto Dix (German, 1891-1969)
Assault Troops Advance under Gas (Sturmtruppe geht unter Gas vor)
1924
© DACS 2017
Image: Otto Dix Stiftung

 

August Sander (1876-1964) 'Working Students' 1926, printed 1990

 

August Sander (German, 1876-1964)
Working Students
1926, printed 1990
Photograph, gelatin silver print on paper
ARTIST ROOMS Tate and National Galleries of Scotland. Lent by Anthony d’Offay 2010
© Die Photographische Sammlung/SK Stiftung Kultur – August Sander Archiv, Cologne; DACS, London, 2017

 

 

Seen together, Sander’s images form a pictorial mosaic of inter-war Germany. Rapid social change and newfound freedom were accompanied by financial insecurity and social and political unrest. By photographing the citizens of the Weimar Republic – from the artistic, bohemian elite to the Nazis and those they persecuted – Sander’s photographs tell of an uncertain cultural landscape. It is a world characterised by explosions of creativity, hyperinflation and political turmoil. The faces of those he photographed show traces of this collective historical experience. Alfred Döblin, author of the 1929 novel Berlin Alexanderplatz said:

“Sander has succeeded in writing sociology not by writing, but by producing photographs – photographs of faces and not mere costumes.”

 

Otto Dix (1891-1969) 'Argentinian Venomous Scorpion' 1922

 

Otto Dix (German, 1891-1969)
Argentinian Venomous Scorpion (Argentinischer Gift-Skorpion) 
1922
Graphite on found paper
134 x 217mm
Galerie Remmert und Barth, Düsseldorf
© DACS 2017. Galerie Remmert und Barth, Düsseldorf

 

 

Dix served in the First World War from 1915, fighting on the Western front in the Battle of the Somme. Although an enthusiastic soldier – his service earned him the Iron Cross (Second Class) – Dix’s experiences affected him deeply. He marked the war’s 10th anniversary with a group of etchings entitled Der Krieg (The War), leaving few of the horrors of the front line to the imagination. Commenting later, he said:

“For years, [I] constantly had these dreams in which I was forced to crawl through destroyed buildings, through corridors through which I couldn’t pass. The rubble was always there in my dreams.”

 

Otto Dix (1891-1969) 'Butterfly' 1922

 

Otto Dix (German, 1891-1969)
Butterfly (Schmetterling) 
1922
Graphite on found paper
217 x 135mm
Galerie Remmert und Barth, Düsseldorf
© DACS 2017. Galerie Remmert und Barth, Düsseldorf

 

Otto Dix (1891-1969) 'Giant Snake' 1922

 

Otto Dix (German, 1891-1969)
Giant Snake (Riesenschlange) 
1922
Graphite on found paper
135 x 217mm
Galerie Remmert und Barth, Düsseldorf
© DACS 2017. Galerie Remmert und Barth, Düsseldorf

 

Otto Dix (1891-1969) 'Mask Fish' 1922

 

Otto Dix (German, 1891-1969)
Mask Fish (Maskenfisch) 
1922
Graphite on found paper
217 x 135mm
Galerie Remmert und Barth, Düsseldorf
© DACS 2017. Galerie Remmert und Barth, Düsseldorf

 

Otto Dix (1891-1969) 'Tibetan Turkey Vulture' 1922

 

Otto Dix (German, 1891-1969)
Tibetan Turkey Vulture (Tibetanischer Truthahngeier) 
1922
Graphite on found paper
135 x 217mm
Galerie Remmert und Barth, Düsseldorf
© DACS 2017. Galerie Remmert und Barth, Düsseldorf

 

Otto Dix (1891-1969) 'Vulture Skull' 1922

 

Otto Dix (German, 1891-1969)
Vulture Skull (Totenkopfgeier)
1922
Graphite on found paper
217 x 135mm
Galerie Remmert und Barth, Düsseldorf
© DACS 2017. Galerie Remmert und Barth, Düsseldorf

 

August Sander (1876-1964) 'National Socialist, Head of Department of Culture' c. 1938, printed 1990

 

August Sander (German, 1876-1964)
National Socialist, Head of Department of Culture
c. 1938, printed 1990
Photograph, gelatin silver print on paper
260 x 192mm
ARTIST ROOMS Tate and National Galleries of Scotland. Lent by Anthony d’Offay 2010
© Die Photographische Sammlung/SK Stiftung Kultur – August Sander Archiv, Cologne; DACS, London, 2017

 

Otto Dix (1891-1969) 'Self-Portrait with Easel' 1926

 

Otto Dix (German, 1891-1969)
Self-Portrait with Easel (Selbstbildnis mit Staffelei)
1926
800 x 550mm
Leopold-Hoesch-Museum & Papiermuseum, Düren
© DACS 2017. Leopold-Hoesch-Museum & Papiermuseum Düren. Photo: Peter Hinschläger

 

 

From the early 1920s, he devoted himself to the study of old master painting techniques, using a layering effect, produced first with egg tempera and, later, finished with oils. This moved his contemporary George Grosz to jokingly call him ‘Otto Hans Baldung Dix’ (after the German old master Hans Baldung Grien). Later, Grosz would write:

“Dix did all the drawing in a thin tempera, then went over it with thin mastic glazes in various cold and warm tones. He was the only Old Master I ever watched using this technique.”

 

August Sander (1876-1964) 'Secretary at West German Radio in Cologne' 1931, printed 1992

 

August Sander (German, 1876-1964)
Secretary at West German Radio in Cologne
1931, printed 1992
Photograph, gelatin silver print on paper
260 x 149mm
ARTIST ROOMS Tate and National Galleries of Scotland. Lent by Anthony d’Offay 2010
© Die Photographische Sammlung/SK Stiftung Kultur – August Sander Archiv, Cologne; DACS, London, 2017

 

Otto Dix. 'The Jeweller Karl Krall (Der Juwelier Karl Krall)' 1923

 

Otto Dix (German, 1891-1969)
Portrait of the Jeweller Karl Krall
1923
Kunst- und Museumsverein im Von der Heydt-Museum Wuppertal
Photo: Antje Zeis-Loi, Medienzentrum Wuppertal
© DACS 2017

 

 

When the Nazis came to power in 1933, Dix was dismissed from his professorship teaching art at the Dresden Academy, where he had worked since 1927. The reason given was that, through his painting, he had committed a ‘violation of the moral sensibilities and subversion of the militant spirit of the German people’.

In the years following, some 260 of his works were confiscated by the Nazi Propaganda Ministry. Several of these works, including The Jeweller Karl Krall 1923 (which features in the Tate Liverpool exhibition Portraying a Nation), appeared in the Entartete Kunst (degenerate art) exhibition of 1937-8. The exhibition was staged by the Nazis to destroy the careers of those artists they considered mentally ill, inappropriate or unpatriotic.

 

August Sander. 'Victim of Persecution' 1938, printed 1990 by August Sander 1876-1964

 

August Sander (August, 1876-1964)
Victim of Persecution
c. 1938, printed 1990
Photograph, gelatin silver print on paper
ARTIST ROOMS Tate and National Galleries of Scotland. Lent by Anthony d’Offay 2010
© Die Photographische Sammlung/SK Stiftung Kultur – August Sander Archiv, Cologne; DACS, London, 2017

 

 

In the mid-1920s, Sander began his highly ambitious project People of the 20th Century. In it, Sander aimed to document Germany by taking portraits of people from all segments of society. The project adapted and evolved continuously, falling into seven distinct groups: ‘The Farmer’, ‘The Skilled Tradesman’, ‘The Woman’, ‘Classes and Professions’, ‘The Artists’, ‘The City’ and ‘The Last People’. Sander once said ‘The portrait is your mirror. It’s you’. He believed that, through photography, he could reveal the characteristic traits of people. He used these images to tell each person’s story; their profession, politics, social situation and background.

Sander did not use the newly invented Leica camera. Instead he remained devoted to an old-fashioned large-format camera, glass negatives and long exposure times. This allowed him to capture minute details of individual faces. Sander prized the daguerreotype, a photographic process introduced in the previous century, of which he said: ‘it cannot be surpassed in the delicacy of the delineation, it is objectivity in the best sense of the word’. Allied to this, his portraits were anonymous. Shot against neutral backgrounds and titled more often than not by profession alone, he let the images – and the faces in them – speak for themselves.

The ambition and reach of People of the 20th Century (both in terms of the quality of his photography and in his representation of a cross-section of society) made him a monumental figure of twentieth century photography. The likes of American social realist photographers such as Walker Evans and Dorothea Lange (whose works became iconic symbols of the depression), and later photographers such as Diane Arbus, each owe a debt to the trailblazing Sander. More recently, the work of conceptual artists such as Bernd and Hilla Becher (known for their typologies of industrial buildings and structures) and Rineke Dijkstra, whose photography is infused with psychological depth and social awareness, resonates with the influence of August Sander’s career-long project.

Text from the Tate Liverpool website

 

August Sander (1876-1964) 'Turkish Mousetrap Salesman' 1924-30, printed 1990

 

August Sander (German, 1876-1964)
Turkish Mousetrap Salesman
1924-1930, printed 1990
Photograph, gelatin silver print on paper
260 x 191mm
ARTIST ROOMS Tate and National Galleries of Scotland. Lent by Anthony d’Offay 2010
© Die Photographische Sammlung/SK Stiftung Kultur – August Sander Archiv, Cologne; DACS, London, 2017

 

August Sander (1876-1964) 'Photographer [August Sander]' 1925, printed 1990

 

August Sander (German, 1876-1964)
Photographer [August Sander]
1925, printed 1990
Photograph, gelatin silver print on paper
ARTIST ROOMS Tate and National Galleries of Scotland. Lent by Anthony d’Offay 2010
© Die Photographische Sammlung/SK Stiftung Kultur – August Sander Archiv, Cologne; DACS, London, 2017

 

 

Tate Liverpool
Albert Dock, Liverpool Waterfront,
Liverpool L3 4BB

Opening hours:
Monday to Sunday 10.00 – 17.50

Tate Liverpool website

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25
Feb
16

Exhibition: ‘1932: Rare Photographs by George Grosz’ at the Akim Monet Side by Side Gallery, Berlin

Exhibition dates: 15th January – 19th March 2016

 

George Grosz. 'Zeitvertreib an Bord der "New York" / Pastime on board the "New York"' New York, 1932

 

George Grosz (German, 1893-1959)
Zeitvertreib an Bord der “New York”
Pastime on board the “New York”
New York, 1932
© George Grosz Estate

 

 

While the photographs of the bridge, rigging and pastimes aboard the twin-screw turbine steamer New York are the most avant-garde and successful (in terms of composition, light and pictorial space) in this posting, it is very interesting to observe how a German immigrant artist viewed New York through the lens of a Leica camera upon his arrival.

These photographs could be seen as typical tourist snapshots but there is a certain vivacity (don’t you just love that word, vivacity – viva/city) and angular disposition about them that raises them above the status of snapshots. Grosz captures the spatial abstractness, intensity and excitement of the metropolis in displaced beats and accents – the sense of the buildings closing in looking uptown on 42nd street, or the flashing of bodies frozen in perpetual motion.

These images are precursors to the work of other great immigrant photographers who made the journey to America – the Hungarian André Kertész in 1936 and, later, the Swiss Robert Frank in 1947. Even though these latter photographers have a completely different style to Grosz, all three artists cast their dispassionate eye over American culture. They view it from the standpoint of an outsider, reinterpreting what they see from a different point of view.

Marcus

Please note: I have added the postcard of the steamer SS New York, the photograph of the boxer Max Schmeling and the paintings by George Grosz to give some social, historical and artistic context to the photographs in the exhibition. These works are NOT included in the exhibition.

.
Many thankx to the Akim Monet Side by Side Gallery for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

“After his emigration to the USA in 1933, Grosz “sharply rejected [his] previous work, and caricature in general.” In place of his earlier corrosive vision of the city, he now painted conventional nudes and many landscape watercolours. More acerbic works, such as Cain, or Hitler in Hell (1944), were the exception. In his autobiography, he wrote: “A great deal that had become frozen within me in Germany melted here in America and I rediscovered my old yearning for painting. I carefully and deliberately destroyed a part of my past.” Although a softening of his style had been apparent since the late 1920s, Grosz’s work assumed a more sentimental tone in America, a change generally seen as a decline.”

Text from the Wikipedia website

 

 

George Grosz. 'Sendemast und Takelage der "New York" / Transmitter and rigging of the "New York"' New York, 1932

 

George Grosz (German, 1893-1959)
Sendemast und Takelage der “New York”
Transmitter and rigging of the “New York”
New York, 1932
© George Grosz Estate

 

 

Akim Monet Side by Side Gallery presents a selection of 60 photographs by George Grosz taken in 1932 in partnership with Ralph Jentsch, director of the George Grosz Estate.

George Grosz is well known for his painting and drawing. The DADA MARSHAL, the moralist and angry observer, whose obsessive eye misses nothing and whose cutting, razor-sharp line, records the dangers and problems of his time like no other.

Lesser known is George Grosz the photographer, who in 1932, during his first voyage to America, took camera in hand and in just a few days shot almost 200 multi-layered photos. Right before his departure for America to accept a teaching position, George Grosz bought his first camera in Berlin especially for this trip. With it he started to take photographs during the Atlantic crossing on a ship tellingly called the New York. He chose specific subject matter with a clear emphasis on angles. Behind the viewfinder of the objective camera, finding the right crop became for him a fascinating, creative moment.

His photography profoundly changed after his arrival. In New York, instead of structured stills, his photography was dominated by dynamic movement. In rapid shots taken from moving double-decker buses or in sequences of moving subjects, George Grosz captured the restless metropolis that fascinated him, as if he wanted to imitate cinema with these syncopated images. Chance and detail take the place of balanced composition. The whole, pulsating life of New York is seen through the eyes of the artist.

Text after: Jentsch, Ralph, George Grosz. Eye of the Artist, Photographs New York 1932, Weingarten, 2002.

Press release from the Akim Monet Side by Side Gallery

 

George Grosz. 'Die Brücke der "New York" / The bridge of the "New York"' New York, 1932

 

George Grosz (German, 1893-1959)
Die Brücke der “New York”
The bridge of the “New York”
New York, 1932
© George Grosz Estate

 

Knackstedt & Co (publisher) 'SS New York' Nd postcard

Knackstedt & Co (publisher) 'SS New York' Nd postcard verso

 

Anonymous photographer
Knackstedt & Co (publisher)
SS New York (front and verso)
After 1926
Postcard

 

 

The Twin-Screw Turbine Steamer “New York”

Measurement: 21,500 tons gross • Length 633 ft. • Beam 79 ft. • Depth 56 ft. 5
Builders: Messrs. Blohm 6- Voss, of Hamburg (1926/27)

New York, the city after which the Hamburg-America Line (HAPAG) steamer “New York” was christened by the Lady Mayoress of the American metropolis on the occasion of her being launched in Hamburg on October 20, 1926. USA service, 1941 transferred to Deutsche Amerika Line, 1945 bombed at Kiel and capsized.

 

George Grosz. 'Lower Manhattan' c. 1934

 

George Grosz (German, 1893-1959)
Lower Manhattan
c. 1934
Oil on cardboard
18 x 24 (45.7 x 61cm)
Gift of Dalzell Hatfield

 

George Grosz. 'Aboard a double-decker on 5th Avenue at 48th street, with on the right the Collegiate Church of St. Nicholas' New York, 1932

 

George Grosz (German, 1893-1959)
Im Doppeldeckerbus auf der 5th Avenue, Höhe 48th Street, mit der Collegiate Church of St. Nicholas rechts
Aboard a double-decker on 5th Avenue at 48th street, with on the right the Collegiate Church of St. Nicholas
New York, 1932
© George Grosz Estate

 

George Grosz. 'Aboard a double-decker downtown on 5th Avenue looking uptown on 42nd street' New York, 1932

 

George Grosz (German, 1893-1959)
Im Doppeldeckerbus Downtown 5th Avenue, mit Blick Uptown auf die 42th Street
Aboard a double-decker downtown on 5th Avenue looking uptown on 42nd street
New York, 1932
© George Grosz Estate

 

George Grosz. 'Herald Square' New York, 1932

 

George Grosz (German, 1893-1959)
Herald Square
New York, 1932
© George Grosz Estate

 

George Grosz. 'Street Scene' 1925

 

George Grosz (German, 1893-1959)
Street Scene
1925
Oil on canvas
81.3 × 61.3cm

 

George Grosz. 'Eingang zur Subway Station 5th Avenue am Flat Iron Building / Entrance of the Subway Station at 5th Avenue and the Flat Iron Building' New York, 1932

 

George Grosz (German, 1893-1959)
Eingang zur Subway Station 5th Avenue am Flat Iron Building
Entrance of the Subway Station at 5th Avenue and the Flat Iron Building
New York, 1932
© George Grosz Estate

 

George Grosz. 'Max Schmeling beim Schauboxen in Kingston, 5. Juni 1932 / Max Schmeling at a boxing exhibition game in Kingston, 5th of June 1932' New York, 1932

 

George Grosz (German, 1893-1959)
Max Schmeling beim Schauboxen in Kingston, 5. Juni 1932
Max Schmeling at a boxing exhibition game in Kingston, 5th of June 1932
New York, 1932
© George Grosz Estate

 

 

The Greatest Boxing Fights of All Time – Max Schmeling vs Mickey Walker in 1932

 

 

Unknown photographer. 'Max Schmeling' 1929

 

Unknown photographer
Max Schmeling (German, 1905-2005)
“The Black Uhlan”
Heavyweight Champion
1930-1932

 

 

Maximillian Adolph Otto Siegfried “Max” Schmeling (September 28, 1905 – February 2, 2005) was a German boxer who was heavyweight champion of the world between 1930 and 1932. His two fights with Joe Louis in 1936 and 1938 were worldwide cultural events because of their national associations.

Starting his professional career in 1924, Schmeling came to the United States in 1928 and, after a ninth-round technical knockout of Johnny Risko, became a sensation. He became the first to win the heavyweight championship (at that time vacant) by disqualification in 1930, after opponent Jack Sharkey knocked him down with a low blow in the fourth round. Max retained his crown successfully in 1931 by a TKO victory over Young Stribling. A rematch in 1932 with Sharkey saw the American gaining the title from Schmeling by a controversial fifteen-round split decision. In 1933, Schmeling lost to Max Baer by a tenth-round TKO. The loss left people believing that Schmeling was past his prime. Meanwhile, Adolf Hitler and the Nazi Party took over control in Germany, and Schmeling came to be viewed as a ‘Nazi puppet.’

In 1936, Schmeling knocked out American rising star Joe Louis, placing him as the number one contender for Jim Braddock’s title, but Louis got the fight and knocked Braddock out to win the championship in 1937. Schmeling finally got a chance to regain his title in 1938, but Louis knocked him out in one round. During World War II, Schmeling served with the German Air Force (Luftwaffe) as an elite paratrooper (Fallschirmjäger). After the war, Schmeling mounted a comeback, but retired permanently in 1948.

After retiring from boxing, Schmeling worked for The Coca-Cola Company. Schmeling became friends with Louis, and their friendship lasted until the latter’s death in 1981. Schmeling died in 2005 aged 99, a sporting icon in his native Germany. Long after the Second World War, it was revealed that Schmeling had risked his own life to save the lives of two Jewish children in 1938.

Text from the Wikipedia website

 

George Grosz. 'Sonntag in Manhattan / Sunday in Manhattan' New York, 1932

 

George Grosz (German, 1893-1959)
Sonntag in Manhattan
Sunday in Manhattan
New York, 1932
© George Grosz Estate

 

George Grosz. 'New York street scene' Nd

 

George Grosz (German, 1893-1959)
New York street scene
c. 1930s
Watercolour

 

George Grosz. 'Madison Avenue' New York, 1932

 

George Grosz (German, 1893-1959)
Madison Avenue
New York, 1932
© George Grosz Estate

 

 

Akim Monet Side by Side Gallery

This gallery has now closed but there is an archive website.

Akim Monet Side by Side Gallery website

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21
Jun
14

Exhibition: ‘Hans Richter: Encounters – “From Dada till today”‘ at Martin-Gropius-Bau, Berlin

Exhibition dates: 27th March – 30th June 2014

 

Hans Richter. 'Blue Man' 1917

 

Hans Richter (German, 1888-1976)
Blue Man
1917
Oil on canvas
61 x 48.5cm
© Kunsthaus Zürich, Geschenk Frida Richter, 1977
© Estate Hans Richter

 

 

Many thankx to Martin-Gropius-Bau, Berlin for allowing me to publish the art work in the posting. Please click on the photographs for a larger version of the image.

Marcus

 

The oeuvre of Hans Richter (1888-1976) spanned nearly seven decades. Born in Berlin, he was one of the most significant champions of modernism. Berlin, Paris, Munich, Zurich, Moscow and New York were the major stations of his life. He was a painter and draughtsman, a Dadaist and a Constructivist, a film maker and a theoretician, as well as a great teacher. His great scroll collages remain icons of art history to this day. His work is characterised by a virtually unparalleled interpenetration of different artistic disciplines. The link between film and art was his major theme. Many of the most famous artists of the first half of the twentieth century were among his friends.

 

 

“One can also pursue politics with art.
Everything that intervenes in the processes of life, and transforms them, is politics.”

.
Hans Richter

 

 

Hans Richter. 'Ghosts Before Breakfast' 1928

 

Hans Richter (German, 1888-1976)
Ghosts Before Breakfast (Vormittagsspuk)
1928
B/W, 35mm
Approx. 7 minutes
© Estate Hans Richter

 

 

 

Hans Richter created the film Ghosts Before Breakfast (Vormittagsspuk) in 1928. This was a silent experimental avant-garde film and it was the fifth film that he had made. The film is considered to be one of the first surrealist films ever made. Richter’s interest in Dadaism is shown directly in this work as he challenges the art standards of the time by presenting a theme of obscurity and fantasy. Clocks, legs, ladders, hats, and people undergo total irrational happenings in unusual settings. Men have beards magically appear and disappear before the viewer’s eyes. All strange manner of things are brought together by associative logic. The flying hats perform this function by continually reappearing in the sequence of shots to tie the film together. Richter tries to increase the viewer’s knowledge of reality of showing them surrealist fantasy. He accomplished this through his use of rhythm, and his use of the camera.

Rhythm is a very important element in all of Richter’s works. In this film rhythm is shown in the use of movement in the characters. All of the characters seem to move at the same space distance from one another and at the same speed. This clarifies a sense of rhythm and intensifies a sense of stability within the frame. The same number of characters or items also seems to preserve rhythm… if there are three hats then in the next shot there are three men. The numbers do fluctuate, but a number would remain constant throughout a couple of shots. Shapes in the film also preserve rhythm. This can be seen in Richter’s bulls-eye scene, where the circles of the bulls-eye fill the screen and are spaced equally apart from one another. The target then breaks up and the circles the spread out in the frame to relocate in different areas continuing the rhythm.

The original score, attributed to Paul Hindemith, was destroyed in the Nazi purge of ‘degenerate art’.

 

Unknown artist. 'Hans Richter, Sergei Eisenstein and Man Ray, Paris' 1929

 

Unknown artist
Hans Richter, Sergei Eisenstein and Man Ray, Paris
1929
© Estate Hans Richter
© 2013 Man Ray Trust / Artists Rights Society (ARS), New York / ADAGP, Paris

 

 

 

Joe/Narcissus (Jack Bittner) is an ordinary man who has recently signed a complicated lease on a room. As he wonders how to pay the rent, he discovers that he can see the contents of his mind unfolding whilst looking into his eyes in the mirror. He realises that he can apply his gift to others (“If you can look inside yourself, you can look inside anyone!”), and sets up a business in his room, selling tailor-made dreams to a variety of frustrated and neurotic clients. Each of the seven surreal dream sequences in the diegesis is in fact the creation of a contemporary avant-garde and/or surrealist artist (such as Marcel Duchamp, Alexander Calder, Max Ernst et al). Joe’s waiting room is full within minutes of his first day of operation, “the first instalment of the 2 billion clients” according to the male narrator in voiceover, whose voice is the only one we hear in the non-dream sequences.

 

Hans Richter. 'Dreams That Money Can Buy' 1944-47

 

Hans Richter (German, 1888-1976)
Dreams That Money Can Buy
1944-47
Color, 16mm
Approx. 83 minutes
© Estate Hans Richter

 

HR Productions. Production still of 'Dreams That Money Can Buy' 1944-1947

 

HR Productions
Production still of Dreams That Money Can Buy
1944-1947
Left: Jack Bittner, Middle: Hans Richter
© Estate Hans Richter
Foto: HR Productions

 

 

Hans Richter (1888-1976) life’s work spans nearly 70 years. Born in Berlin, he is one of the most important protagonists of modernity. Berlin, Paris, Munich, Zurich, Moscow and New York are stages of his life. He was a painter and draftsman, Dadaist and Constructivist, filmmakers and theorists, and also a great teacher. His great scroll collages remain icons of art history to this day. His work is characterised by a virtually unparalleled interpenetration of different artistic disciplines. The link between film and art was his major theme. Many of the most famous artists of the first half of the 20th Century were his friends.

Hans Richter: Encounters from Dada to the Present is the title of one of his books, published in the 1970s. By that time in the West in postwar Germany there had been a rediscovery of this important artist, outlawed by the Nazis, whose work was shown in 1937 in the infamous exhibition “Degenerate Art”. For the first time since the 1980s, this big Berlin artist has a dedicated exhibition in his home town, with over 140 works, including his important films and about 50 works of those artists who were influenced by Hans Richter. Hans Richter worked with multimedia in an era when this term hadn’t even been invented. The movie he saw as part of Modern Art: “Film absolutely opens your eyes to what the camera is and what it can and wants to do.”

The Los Angeles County Museum of Art has developed the exhibition with the Martin-Gropius-Bau and the Centre Pompidou Metz. Timothy Benson has curated it. The program explains how Richter understood his cross-disciplinary work and what effect his work had on the art of the 20th century. In ten chapters, the exhibition describes the extensive work of the artist: Early Portraits / War and Revolution / Dada / Richter and Eggeling / Magazine “G” / Malevich and Richter / Film and Photo (FIFO) / Painting / Series / Confronting the Object. Important works of the avant-garde as well as films, photographs, and extensive documentary material make this exhibition an important artistic event.

Hans Richter was active in the broad field of the European avant-garde beginning in the 1910s. Not only art, but also the new medium of film interested him from the very start of his artistic career. In 1908 Hans Richter began his studies at the School of Fine Arts in Berlin. He switched to Weimar the following year. In 1910 he studied at the Académie Julian in Paris. Starting in 1913 he was associated with Herwarth Walden’s gallery Der Sturm and became acquainted with the artists of the “Brücke” and the “Blauer Reiter”. He distributed Marinetti’s “Futurist Manifesto” to hackney drivers in Berlin. In 1914 he also drew for Franz Pfemfert’s magazine Die Aktion and was called up to military service in the summer of that year. In 1916, having suffered severe wounds, he travelled to Zurich (“an island in a sea of fire, steel and blood”) where, together with Tristan Tzara, Hugo Ball and others, he founded the Dada movement, about which he would one day write: ” … it was a storm that broke over the art of that time just as the war broke over the peoples.”

In 1918 he met Viking Eggeling, with whom he conducted his first film experiments as precursors of “abstract film”. Both dreamt of discovering a universal language within film which could promote peace among human beings. In 1919 Richter served as chairman of the “Action Committee for Revolutionary Artists” in the Munich Soviet Republic. He was arrested shortly after the entry of Reichswehr troops. His mother Ida secured his release.

Richter’s first film, Rythmus 21 in 1921 [see below], was a scandal – the audience attempted to beat up the pianist. Moholy-Nagy regarded it as “an approach to the visual realisation of a light-space-continuum in the movement thesis”. The film, which is now recognised as a classic, also attracted the attention of Theo van Doesburg, who invited Richter to work on his magazine De Stijl. In 1922 Richter attended two famous congresses where many of the most significant avant-gardists of the era assembled: The Congress of International Progressive Artists in Düsseldorf and the International Congress of Constructivists and Dadaists – the Dada movement was dismissed on this occasion. In 1923 Richter and other artists founded the short-lived but celebrated Magazine G: Material zur Elementaren Gestaltung (G: Materials for Elemental Form-Creation) (G for “Gestaltung”, i.e. design), which sought to build a bridge between Dadaism and Constructivism. Prominent contributors included Arp, Malevich, El Lissitzky, Mies van der Rohe, Schwitters and van Doesburg.

In 1927 Richter worked with Malevich, who was then visiting Berlin for his first large exhibition, on a – naturally, “suprematist” – film, which, however, was never completed due to the political situation.

 

 

 

Hans Richter’s first truly surrealist film was Rhythmus 21. Richter broke from conventions of the time when rather than attempting to visually orchestrate formal patterns, he focused instead on the temporality of the cinematic viewing experience. He emphasised movement and the shifting relationship of form elements in time. His major creative breakthrough, in other words, was the discovery of cinematic rhythm…

For Richter, rhythm, “as the essence of emotional expression”, was connected to a Bergsonian life force:

Rhythm expresses something different from thought. The meaning of both is incommensurable. Rhythm cannot be explained completely by thought nor can thought be put in terms of rhythm, or converted or reproduced. They both find their connection and identity in common and universal human life, the life principle, from which they spring and upon which they can build further. (Richter, Hans. “Rhythm,” in Little Review, Winter 1926, p. 21)

.
Completed by using stop motion and forward and backward printing in addition to an animation table, the film consists of a continuous flow of rectangular and square shapes that “move” forward, backward, vertically, and horizontally across the screen (Gideon Bachmann and Jonas Mekas. “From Interviews With Hans Richter during the Last Ten Years,” in Film Culture, No. 31, Winter 1963-4, p. 29). Syncopated by an uneven rhythm, forms grow, break apart and are fused together in a variety of configurations for just over three minutes (at silent speed). The constantly shifting forms render the spatial situation of the film ambivalent, an idea that is reinforced when Richter reverses the figure-background relationship by switching, on two occasions, from positive to negative film. In so doing, Richter draws attention to the flat rectangular surface of the screen, destroying the perspectival spatial illusion assumed to be integral to film’s photographic base, and emphasising instead the kinetic play of contrasts of position, proportion and light distribution. By restricting himself to the use of square shapes and thus simplifying his compositions, Richter was able to concentrate on the arrangement of the essential elements of cinema: movement, time and light. Disavowing the beauty of “form” for its own sake, Rhythmus ’21 instead expresses emotional content through the mutual interaction of forms moving in contrast and relation to one another. Nowhere is this more evident than in the final “crescendo” of the film, in which all of the disparate shapes of the film briefly coalesce into a Mondrian-like spatial grid before decomposing into a field of pure light.

Suchenski, Richard. “Hans Richter” on the Senses of Cinema website [Online] Cited 19/06/2014.

 

Hans Richter. 'Neither Hand nor Foot' 1955/56

 

Hans Richter (German, 1888-1976)
Neither Hand nor Foot
1955-56
Paint and collages on board (with doorbell)
16 ½ x 18 ¼ in. (41.9 x 46.4cm)
Private collection
© Estate Hans Richter

 

Hans Richter. 'Justitia Minor' 1917/1960s

 

Hans Richter (German, 1888-1976)
Justitia Minor
1917/1960s
Assemblage (wood, copper, plastic, iron file and string, Christmas decoration)
24 x 18 x 10 in (61 x 45.7 x 25.4cm)
Private Collection
© Estate Hans Richter
Foto © 2013 Museum Associates/LACMA

 

Hans Richter. 'Houses' 1917

 

Hans Richter (German, 1888-1976)
Houses
1917
Ink wash on paper
8 ¼ x 6 ½ in. (20.9 x 16.5cm)
Private collection
© Estate Hans Richter Foto
Foto © 2013 Museum Associates/LACMA

 

 

“Influenced by cubism and its search for structure, but not satisfied with what it offered, I found myself between 1913-1918 increasingly faced with the conflict of suppressing spontaneous expression in order to gain an objective understanding of a fundamental principle with which I could control the ‘heap of fragments’ inherited from the cubists. Thus I gradually lost interest in the subject – in any subject – and focused instead on the positive-negative (white-black) opposition, which at least gave me a working hypothesis whereby I could organise the relationship of one part of a painting to the other.”

Richter, Hans. “Easel-Scroll-Film,” in Magazine of Art, No. 45 (February 1952), p. 82.

 

Unknown artist. 'Hans Arp, Tristan Tzara and Hans Richter, Zurich' 1918

 

Unknown artist
Hans Arp, Tristan Tzara and Hans Richter, Zurich
1918
© Estate Hans Richter

 

 

In 1929 Richter curated the film section of the famous FiFo exhibition (Film und Foto), a milestone in the history of the cinematic and photographic arts. More than 1,000 photos were presented – curated by, among others, Edward Weston and Edward Steichen for the USA and El Lissitzky for the USSR. More than sixty silent films were shown, including works by Duchamp, Egeling, Léger, Man Ray and Chaplin. This important exhibition, initiated by the German Werkbund (which was founded in 1907), was also shown in the Martin-Gropius-Bau, which in those days was called “the former Museum of Applied Arts” – a fact that is rarely mentioned in current photographic histories. On this occasion, Richter published his first film book: Film Enemies of Today, Film Friends of Tomorrow.

That same year, the first Congress of Independent Film was held in the remote Swiss castle of “La Sarraz”: Hans Richter was invited along with Sergei Eisenstein, Bela Balazs, Walter Ruttmann and others. He made a film with Eisenstein, which has since been lost. The Congress is still regarded as the first festival dedicated solely to film. Back then, the still young art of film-making had to struggle for recognition. Also in 1929 the SA (“Sturmabteilung” or Nazi “Brown Shirts”) declares him the first time a “Kulturbolschewisten” – a “cultural Bolshevik”.

In 1930 he travelled to Moscow to make the film Metal. But objections by the Soviet government prevented its completion. In 1933, when the Nazis seized power and Richter was living in Moscow, storm troopers sacked his Berlin flat and made off with his art collection. Fearing for his life, he was soon forced to flee Moscow without a penny to his name. In the Netherlands he made advertising films for Philips. He also worked for a number of chemical companies that were eager to invest in film as an advertising medium. He sought permanent residency in France and Switzerland. In Switzerland, he and Anna Seghers cooperated on a script, and in 1939 Jean Renoir arranged for him to create a major film project in Paris. But the outbreak of war prevented this film as well.

When the Swiss Foreign Police ask him to leave the country he succeeds in 1941, with emigration to the United States. Hilla Rebay, artist and once a member of Ricther’s famous Berlin “November Group” is at this time advisor to the New York art patron Solomon Guggenheim. With his help they can implement their idea of ​​a “Temple of Non-Objectivity” – the Museum of Non-Objective Painting (1939), later the Guggenheim. The museum provided Richter with the necessary invitation and a Jewish support fund for refugees sponsored his long journey. In 1942 Richter became a teacher for film – and later director – at the Institute of Film Techniques at the College of the City of New York. Until 1956 he trained students who were later counted among the great figures of American independent film, including Stan Brackhage, Shirley Clarke, Maya Deren and Jonas Mekas.

In 1940s America, after a fifteen-year pause, Richter began painting again. In 1943/44 he created his great scroll paintings and collages about the war: Stalingrad, Invasion and Liberation of Paris. After the war he made the episodic film Dreams That Money Can Buy, working alongside five of the most famous artists of the twentieth century: Léger, Ernst, Calder, Ray and Duchamp. In 1946 he presented his first great American art exhibition in Peggy Guggenheim’s Art of This Century gallery.

In the 1950s, Richter returned to Europe for the first time following his emigration to deliver lectures. Portions of his art collection, which he had left behind in Germany following his move to Moscow, were returned to him. Numerous exhibitions led to the rediscovery of Hans Richter’s works in Western Europe as well. He worked in Connecticut during the summers and spent his winters in Ascona near his artist friends. Richter experienced an extraordinarily prolific creative phase during which – after he set aside his painting utensils in the late 1960s – many works appeared using special collage techniques. In 1971 he became a member of the Berlin Academy of the Arts. By the time of his death in Switzerland in 1976, his work was shown and appreciated in many exhibitions in Western Europe. Now, for the first time in over thirty years, Hans Richter can be rediscovered in an exhibition from Los Angeles.

Press release from the Martin-Gropius-Bau website

 

Hans Richter. 'Visionary Portrait' 1917

 

Hans Richter (German, 1888-1976)
Visionary Portrait
1917
Oil on canvas
53 x 38cm
© Estate Hans Richter
Foto: Galerie Berinson

 

Hans Richter. 'Triptych in Gray, Red, and Green' 1959 (detail)

 

Hans Richter (German, 1888-1976)
Triptych in Gray, Red, and Green (detail)
1959
Oil on canvas on boards
Three parts, each: 15 ½ x 19 ½ in. (39.4 x 49.5cm); all: 20 ½ x 49 ½ in. (52 x 125.7cm)
Private collection
© Estate Hans Richter
Foto © 2013 Museum Associates/LACMA

 

Hans Richter. 'Dragonfly (Counterpoint in Red, Black,Gray, and White)' 1943

 

Hans Richter (German, 1888-1976)
Dragonfly (Counterpoint in Red, Black,Gray, and White)
1943
Oil on canvas
29 ½ x 15 ½ in. (74.9 x 39.4cm)
Private collection
© Estate Hans Richter
Foto © 2013 Museum Associates/LACMA

 

Hans Richter. 'Orchestration of Colors' 1923/1970

 

Hans Richter (German, 1888-1976)
Orchestration of Colors
1923/1970
Serigraph on linen
54 x 16 in. (137.2 x 40.6cm)
Private collection
© Estate Hans Richter Foto
Foto © 2013 Museum Associates/LACMA

 

 

Martin-Gropius-Bau Berlin
Niederkirchnerstraße 7
Corner Stresemannstr. 110
10963 Berlin
Phone: +49 (0)30 254 86-0

Opening hours:
Wednesday to Monday 10 – 20 hrs
Tuesday closed

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07
Jun
14

Exhibition: ‘Feuerbach’s Muses – Lagerfeld’s Models’ at Hamburger Kunsthalle, Hamburg

Exhibition dates: 21st February – 15th June 2014

Gallery of Contemporary Art

 

Installation view of 'Feuerbach's Muses - Lagerfeld's Models' at Hamburger Kunsthalle

 

Installation view of Feuerbach’s Muses – Lagerfeld’s Models at Hamburger Kunsthalle

 

 

Don’t give up your day job

.
From the sublime (Feuerbach) to the downright awful (Lagerfeld).

From gorgeous, sensitive portrait paintings of women, full of detail and texture, colour and stillness to what I would term soft-cock porn. Fashion influenced, hyper airbrushed faces; Saint Sebastian poses referencing classical ideals of male beauty (done so much more authentically and grittily by Baron Wilhelm von Gloeden), all staged in sylvan settings. Then printed onto silver- and gold-coloured fabric. Can’t wait to see that…

Not absolutely fabulous, just absolutely hideous.

Marcus

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Many thankx to Hamburger Kunsthalle for allowing me to publish the art work and photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

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Installation view of 'Feuerbach's Muses - Lagerfeld's Models' at Hamburger Kunsthalle

Installation view of 'Feuerbach's Muses - Lagerfeld's Models' at Hamburger Kunsthalle

Installation view of 'Feuerbach's Muses - Lagerfeld's Models' at Hamburger Kunsthalle

Installation view of 'Feuerbach's Muses - Lagerfeld's Models' at Hamburger Kunsthalle

Installation view of 'Feuerbach's Muses - Lagerfeld's Models' at Hamburger Kunsthalle

 

Installation views of Feuerbach’s Muses – Lagerfeld’s Models at Hamburger Kunsthalle

 

Anselm Feuerbach. 'Nanna' 1864

 

Anselm Feuerbach (German, 1829-1880)
Nanna
1864
Oil on canvas
61 x 47.2cm
© Niedersächsisches Landesmuseum Hannover
Photo: Ursula Bohnhorst

 

Anselm Feuerbach. 'Studienkopf zur Stuttgarter Iphigenie [Study of a Head for Stuttgart Iphigenia]' 1870

 

Anselm Feuerbach (German, 1829-1880)
Studienkopf zur Stuttgarter Iphigenie [Study of a Head for Stuttgart Iphigenia]
1870
Oil on canvas
62.5 x 49.5cm
© Museum Oskar Reinhart, Winterthur
Photo: SIK-ISEA (Philipp Hitz)

 

 

Iphigenia (Greek mythology) the daughter of Clytemnestra and Agamemnon; Agamemnon was obliged to offer her as a sacrifice to Artemis when the Greek fleet was becalmed on its way to Troy; Artemis rescued her and she later became a priestess.

 

Anselm Feuerbach. 'Poesie, Zweite Fassung [Poetry, Second Version]' 1863

 

Anselm Feuerbach (German, 1829-1880)
Poesie, Zweite Fassung [Poetry, Second Version]
1863
Oil on canvas
62 x 50cm
© Kunstbesitz der Stadt Speyer
Photo: G. Kayser

 

Anselm Feuerbach. 'Lucrezia Borgia, Bildnis einer Römerin in weißer Tunika und rotem Mantel [Lucrezia Borgia, Portrait of a roman in white tunic and red cloak]' 1864/65

 

Anselm Feuerbach (German, 1829-1880)
Lucrezia Borgia, Bildnis einer Römerin in weißer Tunika und rotem Mantel [Lucrezia Borgia, Portrait of a roman in white tunic and red cloak]
1864-65
Oil on canvas
98 x 81cm
© Städel Museum, Frankfurt a. M.
Photo: Städel Museum – ARTOTHEK

 

Anselm Feuerbach. 'Nanna' 1861

 

Anselm Feuerbach (German, 1829-1880)
Nanna
1861
Oil on canvas
137.8 x 99.3cm
© München, Bayerische
Staatsgemäldesammlungen – Neue Pinakothek
Photo: bpk I Bayerische Staatsgemäldesammlung

 

 

From February 2014 the Hamburger Kunsthalle is presenting an unusual double exhibition on beauty, eroticism and the adoration of muses and models that brings together paintings by Anselm Feuerbach and hit her to unseen photographs by Karl Lagerfeld. In a similar way both Feuerbach and Lagerfeld seek an actualisation of an ideal of timeless beauty founded in the ancient world. The exhibition examines the cult of beauty, which stylises the model to an icon. Over forty works by Feuerbach, most of them from the years 1860-70, will be on show. They are loans from the Feuerbachhaus Speyer and from numerous German, Swiss and Austrian museums ad private collections. Karl Lagerfeld has created a series of around sixty black-and-white photographs specially for the exhibition. Mostly in large formats, they have been printed in a complex procedure onto silver- and gold-coloured fabric.

Anselm Feuerbach (1829-80) one of the most important German painters of the late nineteenth century, lived in Rome from 1856 onwards. The city, with its magnificent architecture and heroic surrounding landscape, was a place of yearning that seemed eligible like no other to revive the classical ideal of ancient times. Feuerbach devoted himself to antique subject matter, which he filled with imagination and personal feeling. This is most excitingly shown in the series of unique portraits, begun in 1860, which portray Feuerbach’s model and muse, Anna Risi, known as Nanna. Feuerbach painted Nana in a wide variety of roles and sensitively staged settings that reveal an almost cultic veneration for his model. When Nanna left Feuerbach in 1865, she was followed by Lucia Brunacci. Similarly to Nanna she matched the classical ideal of beauty of the time, with her Greek profile and thick dark hair. Lucia inspired Feuerbach to impressive portrayals of mythological themes that form the highpoint of his ouevre.

‘Happy is he whom the muses love’, wrote the Greek poet Hesiod, and so the muses are a symbol of the higher power that is needed, according to the ancients, to be creative. The photographic series Modern Mythology (2013) by Karl Lagerfeld, explores the love story of Daphnis and Chloe, and shows models such as Baptiste Giabiconi and Bianca Balti, who have accompanied Lagerfeld in his work for several years. The story, by the poet Longus, tells of a boy and a girl who grow up without parents among shepherds and over the years develop a strong affection for one another. The narration has been taken up many times since the Renaissance. Lagerfeld’s photographs belong to a series of works by Pierre Bonnard, François Boucher or Aristide Maillol which present the ancient text as a symbol of the idyllic life. Karl Lagerfeld’s stagings were shot against the picturesque natural background of the South of France, and are the actualisation of an ancient theme.

The exhibition is accompanied by two publications: the catalogue on Anselm Feuerbach is published jointly with the Museum Wiesbaden and introduces Feuerbach’s paintings and drawings from an art-historical perspective; the second book combines Karl Lagerfeld’s photographs and Longus’s mythological narrative of Daphnis and Chloe in a bibliophile volume that will be elaborately produced by the publisher Gerhard Steidl.

Curators: Professor Hubertus Gaßner and Luisa Pauline Fink

Press release from the Hamburger Kunsthalle website

 

Anselm Feuerbach. 'Das Urteil des Paris [The Judgement of Paris]' 1870

 

Anselm Feuerbach (German, 1829-1880)
Das Urteil des Paris [The Judgement of Paris]
1870
Oil on canvas
228 x 443cm
© Hamburger Kunsthalle / bpk
Photo: Elke Walford

 

Anselm Feuerbach. 'Ruhende Nymphe [Resting Nymph]' 1870

 

Anselm Feuerbach (German, 1829-1880)
Ruhende Nymphe [Resting Nymph]
1870
Oil on canvas
112 x 190cm
© Germanisches Nationalmuseum Nürnberg, Leihgabe Privatbesitz
Photo: Monika Runge

 

Karl Lagerfeld. 'Modern Mythology' 2013

 

Karl Lagerfeld (German, 1933-2019)
Modern Mythology
2013
© 2013 Karl Lagerfeld

 

Karl Lagerfeld. 'Modern Mythology' 2013

 

Karl Lagerfeld (German, 1933-2019)
Modern Mythology
2013
© 2013 Karl Lagerfeld

 

Karl Lagerfeld. 'Modern Mythology' 2013

 

Karl Lagerfeld (German, 1933-2019)
Modern Mythology
2013
© 2013 Karl Lagerfeld

 

Karl Lagerfeld. 'Modern Mythology' 2013

 

Karl Lagerfeld (German, 1933-2019)
Modern Mythology
2013
© 2013 Karl Lagerfeld

 

Karl Lagerfeld. 'Modern Mythology' 2013

 

Karl Lagerfeld (German, 1933-2019)
Modern Mythology
2013
© 2013 Karl Lagerfeld

 

Karl Lagerfeld. 'Modern Mythology' 2013

 

Karl Lagerfeld (German, 1933-2019)
Modern Mythology
2013
© 2013 Karl Lagerfeld

 

Karl Lagerfeld. 'Modern Mythology' 2013

 

Karl Lagerfeld (German, 1933-2019)
Modern Mythology
2013
© 2013 Karl Lagerfeld

 

 

Hamburger Kunsthalle
Glockengießerwall 20095
Hamburg
Phone: +49 (0) 40 – 428 131 200

Opening hours:
Tuesdays to Sundays 10am – 6pm
Thursdays 10am – 9pm
Closed Mondays

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21
Nov
13

Exhibition: ‘Nude in Public: Sascha Schneider, Homoeroticism and the Male Form circa 1900’ at The Leslie-Lohman Museum of Gay and Lesbian Art, New York City

Exhibition dates: 20th September – 8th December 2013

Curator: Jonathan David Katz

 

 

Sascha Schneider. 'Mammon and his Slave' c. 1896

 

Sascha Schneider (German, 1870-1927)
Mammon and his Slave
c. 1896
Wood engraving, published by J. J. Weber, Leipzig
9.44 x 12.59 in.
Collection of Hans-Gerd Röder

 

 

*PLEASE NOTE THIS POSTING CONTAINS ART WORK OF MALE NUDITY – IF YOU DO NOT LIKE PLEASE DO NOT LOOK, FAIR WARNING HAS BEEN GIVEN*

Many thankx to The Leslie-Lohman Museum of Gay and Lesbian Art for allowing me to publish the art work in the posting. Please click on the photographs for a larger version of the image.

 

“Schneider was born in Saint Petersburg in 1870. During his childhood his family lived in Zürich, but following the death of his father, Schneider, moved to Dresden, where in 1889 he became a student at the Dresden Academy of Fine Arts (Kreuzgymnasium). In 1903 he met best-selling author Karl May, and subsequently became the cover illustrator of a number of May’s books including WinnetouOld SurehandAm Rio de la Plata. A year later in 1904, Schneider was appointed professor at the Großherzoglich-Sächsische Kunstschule Weimar.

During this period Schneider lived together with painter Hellmuth Jahn. Jahn began blackmailing Schneider by threatening to expose his homosexuality, which was punishable under §175 of the penal code. Schneider fled to Italy, where homosexuality was not criminalised at that time. In Italy, Schneider met painter Robert Spies, with whom he travelled through the Caucasus Mountains. He then traveled back to Germany, where he lived for six months in Leipzig before returning to Italy, where he resided in Florence. When the First World War started, Schneider returned to Germany again, taking up residence in Hellerau (near Leipzig). After 1918, he co-founded an institute called Kraft-Kunst for body building. Some of the models for his art works trained here.

Schneider, who suffered from diabetes mellitus, suffered a diabetic seizure during a ship voyage in the vicinity of Swinemünde. As a result he collapsed and died in 1927 in Swinemünde. He was buried in Loschwitz Cemetery, Germany.”

Text from Wikipedia, where a good gallery of further work by Schneider can be found.

 

 

Sascha Schneider. 'Patriarch' 1895

 

Sascha Schneider (German, 1870-1927)
Patriarch
1895
Oil on canvas
40.15 x 58.26 in.
Collection of Hans-Gerd Röder

 

 

Images of rulers, emperors, and patriarchs [are] a reminder that Schneider was born into an imperial political system. But like the Babylonian figure of Growing Stronger, this large patriarch isn’t a figure of contemporary life, but an echo of a resurgent classicism. Schneider’s fascination with authoritarian masculinity bookends his interest in male youth, a parallel itself rooted in classical ideals.

Text from the exhibition web page

 

Sascha Schneider. 'Triumph of Darkness' 1896

 

Sascha Schneider (German, 1870-1927)
Triumph of Darkness [Der Fürst der Verdammten (Prince of the Damned)]
1896
Mixed media
62.99 x 106.29 in.
Collection of Hans-Gerd Röder

 

Sascha Schneider. 'Untitled (study of a reclining male nude with tucked up legs)' 1894

 

Sascha Schneider (German, 1870-1927)
Untitled (study of a reclining male nude with tucked up legs)
1894
Pencil and charcoal with white highlights on grey paper
20.07 x 15.74 in.
Collection of Hans-Gerd Röder

 

Sascha Schneider. 'War Cry' 1915

 

Sascha Schneider (German, 1870-1927)
War Cry
1915
Charcoal on paper
19.68 x 17.17 in.
Collection of Hans-Gerd Röder

 

 

The Leslie-Lohman Museum of Gay and Lesbian Art will kick off its autumn 2013 season by exploring the German painter Sascha Schneider (1870-1927). At the beginning of the 20th Century, Schneider was elevated to a prestigious post at a German university and was one of the most well-known and well-respected public artists of his time. Only a generation later, he was largely relegated to obscurity. This exhibit examines not only Schneider’s art, but the strange cultural phenomenon that caused his dramatic rise and fall. Curated by Jonathan David Katz, this will not only be the single most extensive one-person exhibition of Sascha Schneider’s art ever mounted since his premature death, but the very first exhibition of Sascha Schneider’s art in the U.S.

 

A Strange Historical Interval

While the history of art is overwhelmingly a history of imaging the female nude, for a brief moment – and in Germany above all – it is instead a history of the male nude. Sascha Schneider was product and beneficiary of this unusual historical moment, one of the most fraught, contradictory and unresolved periods in the modern history of sexual regulation.

This strange historical interval, more developed in Germany in the early 20th century than anywhere else, goes by the English name of the Health and Hygiene Movement. In part a response to rapid industrialisation, urban crowding, and the fear that modern life was weakening the inherent strength and drive of Germany’s youth, this reformist movement proposed a bold solution, at once forward and backward looking: it advocated a return to a classical conception of the gymnasium – of training the body as well as the mind through youthful exercise outdoors, preferably in the nude, all in pursuit of a natural health and vitality. Conjoining an idealised youthful beauty, sport and bold nudity, Freikörperkultur (which literally means free body culture) made paintings, photographs, sculptures, and especially public murals that today look strikingly homoerotic, merely part of the visual landscape of early twentieth-century Germany.

Adherents of the movement claimed that only through the confident and shameless exposure of strong, beautiful, male bodies, would young German men throw off the enervating effects of modern life and return to their natural vitality. The emphasis on male nudity had a simple rationale: not only had modern life ostensibly put the German ideal of “manliness” under pressure – a dynamic that would have tragic repercussions with the rise of the Nazis – but since the erotic dimension of female nudity was widely acknowledged, male nudity was paradoxically framed as inherently purer and untainted by eros, as an image of German manhood and its strength and power without any admixture of desire.

 

The Cultural Conflict

Yet at the same exact moment that Freikörperkultur made the sight of handsome nude young men ubiquitous in public spaces as diverse as stadiums and opera houses, another movement was brewing – the very first modern gay-rights movement. Led by such pioneering figures as Magnus Hirschfeld, founder of the Institute for Sexual Research (which was destroyed by the Nazis in 1933), this new political movement sought to make same-sex relationships entirely legal, in part through claiming that gay people were born gay, that same-sex desire was as natural to some as heterosexuality was to others. But whereas Freikörperkultur sought to generalise an (unacknowledged) homoerotic sensibility across all of German culture, this new politics essentially set up the first self-described homosexual minority in history. Thus a collision was set in motion between those who worked to make homosexuality more tolerable by generalising a gay aesthetic (though distinctly not a gay politics) across the culture at large and those who named their homosexuality, who specifically sought civil rights under the guise of inborn and natural difference.

 

Caught in the Conflict

Schneider, who emblematised Freikörperkultur in almost every work he ever did, nonetheless came to understand the limits of a social world that accepted homoeroticism but not homosexuals. He was forced to resign from his prestigious post at Weimar University and flee to Italy.

Schneider’s fortunes as an artist were so intimately bound up with this historical interlude and its inherent contradictions that his career couldn’t survive its passing. When he died at age 57 in 1927, of complications from diabetes, his star was already dimming. By the end of World War II, he was largely forgotten. But through the efforts of one man, the German collector Hans-Gerd Röder, who became fascinated by this unknown figure while still in his twenties and began to seek out every work by Schneider he could find, a tattered reputation in modern art history has been painstakingly restored. Mr. and Mrs. Röder and their family have generously agreed to lend their collection of masterworks to the Leslie-Lohman Museum.

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The Leslie-Lohman Museum of Gay and Lesbian Art is the first and only dedicated gay and lesbian art museum in the world with a mission to exhibit and preserve gay and lesbian art, and foster the artists who create it. The Museum has a permanent collection of over 22,000 objects, 6-8 major exhibitions annually, artist talks, film screenings, readings, THE ARCHIVE – a quarterly art newsletter, a membership program, and a research library. The Leslie-Lohman Museum is operated by the Leslie-Lohman Gay Art Foundation, a non-profit founded in 1987 by Charles W. Leslie and Fritz Lohman who have supported gay and lesbian artists for over 30 years. The Leslie-Lohman Museum embraces the rich creative history of the gay and lesbian art community by informing, inspiring, entertaining and challenging all who enter its doors.

Press release from The Leslie-Lohman Museum of Gay and Lesbian Art

 

Sascha Schneider. 'Hypnotism' 1904

 

Sascha Schneider (German, 1870-1927)
Hypnotism
1904
Lithograph, published Breitkopf and Hartel, Leipzig
19.68 x 15.74 in.
Collection of Hans-Gerd Röder

 

Sascha Schneider. 'The Anarchist' 1894

 

Sascha Schneider (German, 1870-1927)
The Anarchist
1894
Lithograph on paper
19.68 x 15.74 in.
Collection of Hans-Gerd Röder

 

Sascha Schneider. 'Feeling of Dependency' 1894

 

Sascha Schneider (German, 1870-1927)
Gefühl der Abhängigkeit (Feeling of Dependency)
1894
Chalk, charcoal and paints on cardboard
27.55 x 19.09 in.
Collection of Hans-Gerd Röder

 

 

Sascha Schneider (1870-1927) was an artist who achieved mainstream critical and commercial success in turn-of-the-century Germany despite its striking homoeroticism. Appointed painting chair at the Weimar-Saxon Grand Ducal Art School, and a recipient of prestigious aristocratic commissions, Schneider was once a celebrated painter. Today he is practically unknown, even in Germany. If his name is mentioned at all, it usually is only as the illustrator of the hugely successful Karl May novels, a German adventure series set in the American West. This exhibition seeks to do more than resurrect a forgotten career. It asks why his art was less controversial a hundred years ago than it is today.

Turn-of-the-century Germany was a culture modelled on the classical past, reinvigorating classical ideals in art, architecture, and education. The Greek notion of the gymnasium, where young men developed both mind and body together, continues to be the German word for “high school” even today. Schneider, who actually built a body-building studio in his atelier, was an adherent of this classical ideal. And since this attitude toward mental and physical development was by no means an exclusively homosexual one, it was Schneider’s frank depiction of male beauty that made his art, paradoxically, so mainstream. This exhibition is dedicated to Hans-Gerd Röder, who has almost single-handedly safeguarded Schneider’s work. The art shown is from his collection.

Growing Stronger is a distillation of several of Schneider’s key themes. It features a bearded man whose face and pose are likely drawn from ancient Babylonian relief sculptures excavated by the Germans in the late 19th century and relocated to Germany. This quasi-Babylonian figure is depicted as warmly encouraging the strength of a nude youth. In its original early 20th century context, the image would have been seen as an example of the classical ideal of the gymnasium, where naked youth competed for glory. The paternalism evoked in the image, a celebration of masculine achievement, would have made it in no way controversial in Schneider’s time, when countless such images were painted and sculpted in public settings across the country.

In 1919 Schneider convinced the owner of a Dresden department store to let him have the top floor as a combined atelier and bodybuilding studio. Thus was born Schneider’s Kraft-Kunst-Institut (literally, strength-art-institute). The studio contained a complete gymnasium and some of the participants became models for his art. Privately, Schneider complained that the Institute’s recruits who could afford tuition were not the youthful types he desired.

From the spooky Oak Forest on Ruegen Island to the explicit War Cry, Schneider’s work reflects the tumultuous times in which he lived. Born a year before the unification of Germany in 1871, he saw its defeat in World War I and the onerous peace treaty Germany was forced to sign. Images of death, war, and foreboding are constant throughout his long career.

The image of an ephebic youth, poised at the brink of manhood, as the ideal figure of the classical past, became familiar throughout Germany in the early 20th century. This image of youth was also more broadly associated with modernity and change – the German variant of Art Nouveau. Strong and healthy, lifting weights, these youths were available as a virile, nationalistic metaphor for Germany itself carrying a range of associations, not all of them erotic.

Young men had been familiar subjects in Western art, ranging from Renaissance putti to revellers splashing at beaches or swimming holes in the early 20th century, and as such Schneider’s art reflects a much less guarded ethic governing the representation of youth than we see today. But notably, his subjects are not the realist nudes of an earlier era. Simplified, made over into a repetitious pattern, the body here is an exercise in modernity, in formal patterning and aestheticised contours. Whereas French modernism was generally built over the figure of the nude female, German modernity tended to instead invoke the body of a young man.

Text from the exhibition web page

 

Sascha Schneider. 'Athlete in Basic Position' 1907

 

Sascha Schneider (German, 1870-1927)
Athlete in Basic Position
1907
Chalk on paper relined on canvas
83.85 x 42.91 in.
Collection of Hans-Gerd Röder

 

Sascha Schneider. 'Rear View of Nude with Towel' c. 1920

 

Sascha Schneider (German, 1870-1927)
Rear View of Nude with Towel
c. 1920
Oil on canvas
40.15 x 14.56 in
Collection of Hans-Gerd Röder

 

 

The Leslie-Lohman Museum of Gay and Lesbian Art
26 Wooster Street, Soho, New York City
Phone: 212-431-2609

Opening hours:
Wednesday – Sunday 12pm – 6pm
The Museum is closed Monday, Tuesday and all major holidays.
Admission is free.

Leslie-Lohman Museum of Gay and Lesbian Art website

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19
Apr
12

Exhibition: ‘Gerhard Richter. Atlas’ at the Staatliche Kunstsammlungen Dresden

Exhibition dates:  4th February – 22nd April 2012

 

Installation photograph of 'Gerhard Richter. Atlas' Kunsthalle im Lipsiusbau 2012

 

Installation photograph of Gerhard Richter. Atlas
Kunsthalle im Lipsiusbau
Photograph: David Brandt, 2012
© Gerhard Richter Archive, Staatliche Kunstsammlungen Dresden

 

 

“I see countless landscapes, photograph barely one in 100,000, and paint barely 1 in 100 of those that I photograph,”

.
Gerhard Richter, 1986

 

“If the grids of art are about arrangement, synchronic vision, connections and knowledge, a standing back to grasp a pattern, then the grids of life are just as much about chance, disconnections among the connections, and the inability of the elements within the grid to perceive, and know, the larger patterns of which they are a part, so that it is only a ‘higher’ consciousness standing outside the grid that will be able to see it all (with or without understanding it). How you know and form a grid depends on whether you are inside or outside it. You can ‘form’ a grid both actively and passively, wittingly and unwittingly – either by simply being part of a grid or by actually assembling one… The grid becomes a potentially totalizing system with which reality (the real of experience as well as the real of the mind), another totalizing system, must endlessly play its games of elusiveness and containment, chaos and order, freedom and necessity.”

.
Aveek Sen. “The Grid and More,” on Still Searching: An Online Discourse on Photography. 7th April 2012

 

 

Meaning arises out of context – or the lack of it. Unlike the grids of the Bechers which promote multiple ways of seeing and construct narrative tension these images do not increase the photographic narrative. They are like the parrots, finches or scarab beetles in a display case at a natural history museum – part of a taxonomic classification system, where one out of a thousand is the most impressive beetle, the bird with the brightest plumage, where the composition is the most surprising. Multiples as collected here are fascinating but emerge from a slightly obsessive mind (which any collectors mind is!)

This photomontage of impressions, ground and movement blurs the history and memory embedded in each photograph. The assemblage of all these visions ranges far and wide but ultimately collapses time and space into one huge universal snapshot. As in advertising imagery the individual documentary-style images mean relatively little – it is the overall impression that impinges on the consciousness. If you watch MTV and stop to analyse the individual images in a pop video you soon acknowledge their vacuousness. The context of the singular image is lost. In this display the grid controls the photographs position relative to each other and the viewer – a compositional design matrix that has a symbolic function. The grid both decontextualises and recontextualises the floating signifier.

Richter obviously uses them as an aide-memoire. Some remind me of the folded photographs found in Francis Bacon’s studio; others Bacon’s portraits of blurred bodies; yet more, ethnographic mappings of Indigenous bodies or criminals cut out of newspapers. Others remind me of Surrealist experiments and the colour photographs the paintings of Gerhard Richter. Funny about that…

They may be the source material of a great artist but in this regimented form of prosaic knowledge they become like bugs caught in amber.

.
Many thankx to the Staatliche Kunstsammlungen Dresden for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

Installation photograph of 'Gerhard Richter. Atlas' Kunsthalle im Lipsiusbau 2012

 

Installation photograph of Gerhard Richter. Atlas
Kunsthalle im Lipsiusbau
Photograph: David Brandt, 2012
© Gerhard Richter Archive, Staatliche Kunstsammlungen Dresden

 

Gerhard Richter. 'Atlas. Plate 68. Photo experiment' 1969

 

Gerhard Richter (German, b. 1932)
Atlas. Plate 68. Photo experiment
1969
© Gerhard Richter 2011

 

Portrait of Gerhard Richter 1966

 

Portrait of Gerhard Richter
1966
© Gerhard Richter, Köln 2012

 

 

In celebration of Gerhard Richter’s 80th birthday, the Gerhard Richter Archive of the Staatliche Kunstsammlungen Dresden presents the ATLAS of the artist in the Kunsthalle im Lipsiusbau. The ATLAS takes a prominent role in the oeuvre of Gerhard Richter. It is the basis of many of his paintings just as it is an artwork in its own right. The ATLAS consists of approximately 800 framed panels with more than 15,000 photographs, newspaper clippings, sketches and designs, which Richter had accumulated for work in his studio from the early 1960s onwards. In 1972, he ordered and arranged the collection on boards and presented it under the title ATLAS for the first time. Ever since then, he has continuously added new material. The conceptual character of the ATLAS offers unique insights into the mindset of the artist, into the development of some ideas for works as well as into the creational process of several of his paintings.

Gerhard Richter’s ATLAS merits a special place within his oeuvre as a whole. It not only forms the basis of his entire work as a painter but is also an autonomous artwork in its own right. Born in Dresden on 9th February 1932, Richter has been constantly revising and augmenting this “work in progress” for more than four decades.

ATLAS may be seen as an accompaniment, commentary and extension of the entire oeuvre of Gerhard Richter, for it also develops its own perspectives and poses its own questions. ATLAS is Richter’s reflection not only on his own work but also on the everyday world of images that he himself has documented photographically in their thousands. “I see countless landscapes, photograph barely one in 100,000, and paint barely 1 in 100 of those that I photograph,” Richter wrote in 1986. This photographed, yet and seemingly inexhaustible flood of images has afforded Richter a concentrated, ready accessibility of motifs for his future works. Indeed, for some of his paintings, he has been able to draw upon old motifs in his ATLAS, some of them dating back more than a decade.

The accompanying artist’s book “ATLAS” is not just intended as a means of documenting the exhibition. Gerhard Richter sees it as an alternative presentation to the exhibited panels, one that permits an additional, different, non-linear approach to the material. By 1964, Richter had collected a vast amount of pictorial source material for his painting, first keeping it in drawers and portfolios. Five years later he began to sift through this material with a critical eye, grouping the individual photographs, reproductions and sketches into different themes and pasting them onto separate panels. Richter then soon recognised the intrinsic artistic quality of these collections of source material and, in 1972, framed the panels and exhibited them at the Museum Hedendaagse Kunst in Utrecht under the title ATLAS. Meanwhile this repository of source material has grown from its original 343 panels to its present 783, with more than 8,000 individual motifs.

Press release from the Staatliche Kunstsammlungen Dresden website

 

Gerhard Richter. 'Atlas. Plate 9. Photographs of papers and books etc' 1962-68

 

Gerhard Richter (German, b. 1932)
Atlas. Plate 9. Photographs of papers and books etc
1962-68
© Gerhard Richter 2011

 

Gerhard Richter (German, b. 1932) 'Atlas. Plate 5. Album Photos' 1962-68

 

Gerhard Richter (German, b. 1932)
Atlas. Plate 5. Album Photos
1962-68
© Gerhard Richter 2011

 

Gerhard Richter. 'Atlas. Plate 58. Double exposure' Nd

 

Gerhard Richter (German, b. 1932)
Atlas. Plate 58. Double exposure
Nd
© Gerhard Richter 2011

 

Gerhard Richter. 'Atlas. Plate 422. Baysricher forest' 1982

 

Gerhard Richter (German, b. 1932)
Atlas. Plate 422. Baysricher forest
1982
© Gerhard Richter 2011

 

Gerhard Richter. 'Atlas. Plate 13. Photographs of papers and books etc' 1964-67

 

Gerhard Richter (German, b. 1932)
Atlas. Plate 13. Photographs of papers and books etc
1964-67
© Gerhard Richter 2011

 

Gerhard Richter. 'Atlas. Plate 31 for 48 Portraits' 1971

 

Gerhard Richter (German, b. 1932)
Atlas. Plate 31 for 48 Portraits
1971
© Gerhard Richter 2011

 

 

Staatliche Kunstsammlungen Dresden
Residenzschloss Taschenberg 2
01067 Dresden Germany

Kunsthalle im Lipsiusbau opening hours:
Daily 10am – 6pm
Closed Mondays

Staatliche Kunstsammlungen Dresden website

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06
Jan
12

Exhibition: ‘Gerhard Richter: Panorama’ at Tate Modern, London

Exhibition dates: 6th October 2011 – 8th January 2012

 

Many thankx to the Tate Modern for allowing me to publish the artwork in the posting. Please click on the photographs for a larger version of the image.

 

 

Gerhard Richter. 'Reader' 1994

 

Gerhard Richter (German, b. 1932)
Reader
1994
Courtesy San Francisco Museum of Modern Art
© Gerhard Richter

 

Gerhard Richter. 'Mustang Squadron' 1964

 

Gerhard Richter (German, b. 1932)
Mustang Squadron
1964
Private Collection
© Gerhard Richter

 

Gerhard Richter. 'Abstract Painting' 1990

 

Gerhard Richter (German, b. 1932)
Abstract Painting
1990
Tate. Purchased 1992
© Gerhard Richter
Photo: Lucy Dawkins

 

Gerhard Richter. 'Forest (3)' and 'Forest (4)' 1990

 

Gerhard Richter (German, b. 1932)
Forest (3) and Forest (4)
1990
Private collection (left) and The Fisher Collection, San Francisco (right)
© Gerhard Richter
Photo: Lucy Dawkins

 

 

Gerhard Richter is widely regarded as one of the most important artists working today. Spanning nearly five decades, and coinciding with the artist’s eightieth birthday, Gerhard Richter: Panorama is a major retrospective that groups together significant moments of his remarkable career.

As evoked by the title Panorama this exhibition presents a broad look at the wide range of Richter’s practice, discovering contradictions and connections, continuities and breaks. Each room is devoted to a particular moment of his career showing how he explored a set of ideas. While the focus is on painting, the exhibition includes glass constructions, mirrors, drawings, and photographs, and explores how Richter uses these media to ask questions about painting.

The exhibition includes many of Richter’s most well-known works such as Ema (Nude descending a staircase) 1966, Candle 1982, Betty 1988 and Reader 1994. There are also important works that are rarely shown: the first Colour Chart from 1966, 4 Panes of Glass 1967, a triptych of Cloud paintings from 1970, and, for the first time outside Germany, Richter’s monumental twenty metre long painting Stroke (on Red) 1980, based on a photograph of a brush stroke. There are several groups of important abstract paintings including a room of brightly coloured works from the early 1980s, a room of monumental squeegee paintings from the 1990s, and the Cage series 2006.

Richter was one of the first German artists to reflect on the history of National Socialism, creating paintings of family members who had been members, as well as victims of, the Nazi party. In the late 1980s, looking back to the history of radical political activity in West Germany in the 1970s, he produced the fifteen-part work 18 October 1977 1988, a sequence of black and white paintings based on images of the Baader Meinhof group. At the same time as developing a complex body of abstract work, often using squeegees to drag paint across the surface of his canvases, Richter has continued to respond to significant moments in history. In 2005 he painted September, an image of the terrorist attacks on the World Trade Center in New York in 2001, which is shown for the first time in the UK in this exhibition.

Richter is often celebrated for the diversity of his approaches to painting. His practice can seem to be structured by various oppositions, with paintings after photographs as well as abstract pictures; traditional still-lifes alongside highly charged subjects; monochrome grey works and multicoloured grids. Some paintings are planned out and ordered; others are the result of unpredictable accumulations of marks and erasures. Richter sometimes maintains these oppositions, but at other times he undoes them.  This exhibition shows how he often brings abstraction and figuration together, and explores related ideas in very different looking works. The exhibition reveals breaks and new beginnings in his career, but it also reveals questions that he has asked throughout his life.

 

Short Biography

Richter was born in Dresden in 1932 and after training in the East, moved to West Germany in 1961. He was part of a group of painters working in Düsseldorf, that included Sigmar Polke and Konrad Lueg, who turned to image-based painting during the emergence of American Pop art. Major solo exhibitions include the 36th Venice Biennale in 1972, his first large-scale retrospective at Städtische Kunsthalle und Kunstverein für die Rheinlande und Westfalen, Düsseldorf in 1986 and Forty Years of Painting, a large-scale retrospective at the Museum of Modern Art, New York, 2002. He installed Black Red Gold in the foyer of the Reichstag building in Berlin in 1999 and the window that he designed for Cologne Cathedral was completed in 2007. Richter lives and works in Cologne.”

Press release from the Tate Modern website

 

Gerhard Richter. 'Abstract Painting' 1990

 

Gerhard Richter (German, b. 1932)
Abstract Painting
1990
Private Collection
© Gerhard Richter

 

Gerhard Richter. 'Demo' 1997

 

Gerhard Richter (German, b. 1932)
Demo
1997
The Rachofsky Collection
© Gerhard Richter

 

Gerhard Richter. 'Cage 4' 2006

 

Gerhard Richter (German, b. 1932)
Cage 4
2006
Tate. Lent from a private collection 2007
© Gerhard Richter

 

 

Tate Modern
Bankside
London SE1 9TG

Opening hours:
Sunday – Thursday, 10.00 – 18.00
Friday – Saturday, 10.00 – 22.00

Tate Modern website

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03
Jan
11

Exhibition: Anselm Kiefer at BALTIC Centre for Contemporary Art, Gateshead

Exhibition dates: 8th October 2010 – 16th January 2011

 

Many thankx to the BALTIC Centre for Contemporary Art for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image. All images © Tate, London 2010.

 

 

Anselm Kiefer 'Margarette' 1981

 

Anselm Kiefer (German, b. 1945)
Margarette
1981
Oil and straw on canvas
280 cm x 380 cm

 

Anselm Kiefer. 'Parsifal III' 1973

 

Anselm Kiefer (German, b. 1945)
Parsifal III
1973
Oil and blood on paper on canvas
3007 x 4345 mm

 

Anselm Kiefer. 'Man under a Pyramid' 1996

 

Anselm Kiefer (German, b. 1945)
Man under a Pyramid
1996
Emulsion, acrylic, shellac and ash on burlap
2810 x 5020 x 50 mm
ARTIST ROOMS: Tate and National Galleries of Scotland. Acquired jointly through The d’Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

 

Anselm Kiefer. 'Palm Sunday' 2006

 

Anselm Kiefer (German, b. 1945)
Palm Sunday
2006
Mixed media installation
Overall display dimensions variable
ARTIST ROOMS: Tate and National Galleries of Scotland. Acquired jointly through The d’Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

 

Anselm Kiefer. 'Palette' 1981

 

Anselm Kiefer (German, b. 1945)
Palette
1981
Oil, shellac and emulsion on canvas
2917 x 4000 x 35 mm
ARTIST ROOMS: Tate and National Galleries of Scotland. Acquired jointly through The d’Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

 

 

BALTIC Centre for Contemporary Art proudly announces a major exhibition of the work of Anselm Kiefer, one of the foremost figures of European post-war painting. The exhibition includes a diverse body of work, offering a selection that spans four decades and ranges from early paintings to monumental installations. Presented over two floors of BALTIC’s galleries, the exhibition is Kiefer’s largest in the UK for many years and has been made possible by ARTIST ROOMS On Tour with the Art Fund.

Following the success of 2009, 21 museums and galleries across the UK in 2010 will be showing 25 ARTIST ROOMS exhibitions and displays from the collection created by the curator and collector, Anthony d’Offay, and acquired by the nation in February 2008. ARTIST ROOMS On Tour with the Art Fund has been devised to enable this collection held by Tate and the National Galleries of Scotland, to reach and inspire new audiences across the country, particularly young people.

Anselm Kiefer at BALTIC includes painting, sculpture and installation, some of which has been rarely seen before. The starting point for Kiefer’s work is his fascination with myth, history, theology, philosophy and literature. For many years his painting was a vehicle to come to terms with his country’s past, and subsequently became ever concerned with religious traditions and the symbolism of different cultures. Kiefer’s weighty subject matters are reflected in the monumental scale of many of his works, while his keen exploration and visceral layering of materials such as lead, ash, rope and human hair bring an emotional potency.

Among the paintings to be included in the exhibition are three works from the artist’s early Parsifal series (1973), drawn from Richard Wagner’s last opera and its 13th century source, a romance by Wolfram von Eschenbach based upon the legend of the Holy Grail. With Palette 1981, Kiefer revealed the problematic legacy inherited by artists in post-war Germany: the artist’s palette hangs from a single burning thread evoking shame, loss and the apparent impossibility of artistic creation. The expansive Man under a Pyramid 1996, which measures more than five meters long, continues the artist’s interest in meditation and the linking of body and mind.

Also included is Palmsonntag 2006 which comprises a vast sequence of 36 paintings arranged around a full-size palm tree. While avoiding explicit religious statement, the work draws upon the Christian narrative of Palm Sunday to explore death and resurrection, decay, re-creation and rejuvenation; human themes that are central to Kiefer’s practice and that will be identified throughout this presentation.

 

Anselm Kiefer biography

Anselm Kiefer was born 1945 in Donauschingen, Germany, at the close of World War II. He studied art formally under Joseph Beuys at the Düsseldorf Academy in the early 1970s where history and myth became central themes in his work.

In 1971 Kiefer produced his first large-scale landscape paintings and from 1973 he began to experiment with wooden interiors on a monumental scale. His preoccupation with recent German history is seen throughout his work and his use of recurring motifs, such as an artist’s palette symbolises his emotional journey relating to this period. Kiefer has made increasing use of materials such as sand, straw, wood, dirt and photographs, as well as sewn materials and lead model soldiers. By adding found materials to the painted surface Kiefer invented a compelling third space between painting and sculpture. Recent work has broadened his range yet further: in 2006 he showed a series of paintings based around the little-known work of the modernist Russian poet Velimir Chlebnikov (1885-1922).

Kiefer has had extensive exhibitions internationally including the Museum of Modern Art, New York (1987), Neue Nationalgalerie, Berlin (1991), The Metropolitan Museum, New York (1998), Royal Academy, London (2001), Fort Worth Museum of Art, Fort Worth (2005) and the San Francisco Museum of Modern Art (2006).

Press release from the BALTIC Centre for Contemporary Art website

 

Anselm Kiefer. 'Urd Werdande Skuld (The Norns)' 1983

 

Anselm Kiefer (German, b. 1945)
Urd Werdande Skuld (The Norns)
1983
Oil, shellac, emulsion and fibre on canvas
4205 x 2805 x 60 mm
ARTIST ROOMS: Tate and National Galleries of Scotland. Acquired jointly through The d’Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

 

Anselm Kiefer. 'Parsifal I' 1973

 

Anselm Kiefer (German, b. 1945)
Parsifal I
1973
Oil on paper laid on canvas
3247 x 2198 mm

 

Anselm Kiefer. 'Parsifal II' 1973

 

Anselm Kiefer (German, b. 1945)
Parsifal II
1973
Oil and blood on paper laid on canvas
3247 x 2188 mm

 

 

BALTIC Centre for Contemporary Art
Gateshead Quays, South Shore Road, Gateshead
NE8 3BA, UK
Phone: +44 (0) 191 478 1810

Opening hours:
Daily 10.00 – 18.00

BALTIC Centre for Contemporary Art website

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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His art work explores the boundaries of identity and place. He writes Art Blart, an art and cultural memory archive, which posts mainly photography exhibitions from around the world. He holds a Doctor of Philosophy from RMIT University, Melbourne, a Master of Arts (Fine Art Photography) from RMIT University, and a Master of Art Curatorship from the University of Melbourne.

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Marcus Bunyan black and white archive: ‘Orphans and small groups’ 1994-96 Part 2

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