ID: 15049
LYONEL FEININGER The GATE en GELMERODA VIII in lijst
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LYONEL FEININGER The GATE en GELMERODA VIII 1921 in lijst
the Großherzoglichen Kunstgewerbeschule Weimar, Lyonel Feininger got to know the Thuringian basin. Thereafter, Weimar and its surrounding villages served the artist, already successful as a caricaturist, for many years as an important source of motifs. In the spring of 1906, Lyonel Feininger drew the late-Romantic village church in Gelmeroda, only a few kilometers from Weimar.
In countless drawings, caricatures, woodcuttings and in 13 paintings one of which is the work in Essen over the course of 30 years, Feininger revisited this unconventional motif artistically. Those who know the village will be surprised by the cathedral-like superelevation and extent of dematerialization of its architecture which Feininger achieved in these paintings through surfaces, seemingly transparent and illuminated from the interior, in various tones and colors.
The paintings structure is taken from real architecture. However, the layering and grading of the color forms, seemingly cut from glass, promote a transfiguration of the church building into a heavenly manifestation of light and crystal.
Ophalen of verzenden (liefst ophalen)
the Großherzoglichen Kunstgewerbeschule Weimar, Lyonel Feininger got to know the Thuringian basin. Thereafter, Weimar and its surrounding villages served the artist, already successful as a caricaturist, for many years as an important source of motifs. In the spring of 1906, Lyonel Feininger drew the late-Romantic village church in Gelmeroda, only a few kilometers from Weimar.
In countless drawings, caricatures, woodcuttings and in 13 paintings one of which is the work in Essen over the course of 30 years, Feininger revisited this unconventional motif artistically. Those who know the village will be surprised by the cathedral-like superelevation and extent of dematerialization of its architecture which Feininger achieved in these paintings through surfaces, seemingly transparent and illuminated from the interior, in various tones and colors.
The paintings structure is taken from real architecture. However, the layering and grading of the color forms, seemingly cut from glass, promote a transfiguration of the church building into a heavenly manifestation of light and crystal.
Ophalen of verzenden (liefst ophalen)