Not cut yet – drawing the tree trunk again

25. August 2013

plum tree trunk
Plum tree trunk,ink on paper

I seem never to get tired of looking at trees. There is a remote place about 20 minutes walk from my home amidst the fields and meadows were some plum trees grow unattended, just not cut yet by the farmers who plow through the root area, damage the branches and don’t care in many ways. The fruits are for the animals. This year the plums are still green in August. Hidden from the eyes of walkers and motorists I draw the neglected,weathered plum tree trunk, perhaps they are gone next year.

Linocut today IX, printmaking art exhibition Bietigheim Bissingen

20. August 2013

Bietigheim Bissingen

Every third year there is an exhibition of linocut prints and a price awarded at the public gallery of Bietigheim-Bissingen, a mid-size town with a picturesque center with many old frame work houses. The gallery is located in an old medieval framework house with several large rooms and a couple of smaller ones. The gallery is a remarkable institution in the region. There are 4 main shows each year in the large rooms and some parallel smaller studio exhibits in the small rooms. No entry fee is charged with the exception of the “main” event each year. We have seen impressive exhibitions, for example linocuts by Picasso and paintings and prints by Gabriele Münter. This year the Conrad Felixmüller show was the highlight(German expressionism).
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Impressions from the landscape garden Bad Muskau

15. August 2013

Park Bad Muskau, photography

Landscape garden Bad Muskau, ink drawing
Landscape garden Bad Muskau,ink drawing in leporello sketch book,(Pentel brush pen)

Fürst Pückler (1786-1871) is one of the most peculiar persons I have ever heard about. I still need to read his famous memoir, but I already studied a bit of his remarks on landscape gardens. Landscape gardening was the ultimate obsession of the man who spent his fortune on two landscape gardens, the park Branitz near Cottbus and the other at Bad Muskau.

Pückler even traveled to England to find a second wife who could finance his garden projects,but this project failed.
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Max Pfeiffer-Watenphul – why I love the chronology of his works

10. August 2013

At Weimar we paid 5 Euros entry fee for the Bauhaus Museum which is nothing but a one room exhibition crammed with 300 something items. Yes I was a bit disappointed, but….to see an original by Max Pfeiffer-Watenphul was great and worth the fee. The work displayed is a portrait of Margarete Willers from 1922. Max Pfeiffer-Watenphul has a really unique position in the visual arts.

Even though his work is highly decorative it never is untrue or superficial in the attempt to create an “effect”. Pfeiffer-Watenpfuhl took courses at the Bauhaus with Johannes Itten. He made acquaintance with Kandinsky, Jawlensky and others. He was friends with Otto Dix as member of an artists group named “Das junge Rheinland” all young aspiring artists who later mostly became misfits under the Nazi regime. It was an encounter with the works of Paul Klee which ended his career as a jurist in 1919 shortly after he had finished his jurist studies.
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This is from Leipzig – a visit to the art business

6. August 2013

Leipzig Spinnerei,ink drawing
Ink drawing, collage of architecture at Leipzig and at the old cotton spinning mill.

Who has not heard of the school of Leipzig, Neo Rauch etc. and the Spinnerei, the old spinning mill area that was converted into an art and gallery center at Leipzig? Here in Germany it is well-known in the art world. (get an impression with a video on the walk around in September 2010
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I got it wrong – a shock to the senses, an exhibition report

1. August 2013

I could visit the exhibition titled “Erschütterung der Sinne” (shock to the senses) at the Albertinum, gallery of new masters, Dresden. And I got it wrong.

Usually I read the printed exhibition lyrics after the visit and not before. That way I learned that my fault was to enter the exhibit through the wrong door. I started with the end of the exhibition, which seemed to me like a line up and juxtaposition of a subjective “best of” selection of the gallery spiced up with some external works covering same time periods.

I could not find any particular connection other than the time line starting from contemporary painting by Richter and Baselitz going backwards in a mad dash through previous art movements like modern abstraction, impressionism, expressionism to finally get stuck in a quirky mix of 19th century paintings by Goya,Delacroix and contemporary art. That last part was the most disturbing one. I did get no other message than someone had hung an arbitrary style hodgepodge.

My bad, I learned that the style hodgepodge part was the acclaimed exhibition curated by Luc Tuymans, who had placed some of his work in prominent position in context with great masters, which left not much room for speculation about the intentions. The other rooms contained simply an excerpt of the permanent collection; many of those works were already familiar to me.
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