Daniel J. Schreiber

Karin Kneffel

The paintings of Karin Kneffel (born 1957) are seductively illusionistic, reveling in the beauty of surface. Her resplendent interiors seem uncanny, her monumental still lifes surreal, her use of perspective ominously distorted, with reflections that develop a life of their own. With 70 color plates, this volume surveys her work to date.

Karin Kneffel 1990-2010

Hans-Peter Wipplinger

Jonas Burgert

Karin Pernegger

To conduct an 'Experiment in Vivo' (Lebendversuch), is to consider something under real-life conditions. The title refers to a core notion in Jonas Burgert's work. The painter's visual narratives appear strange and enigmatic, but their emotional subtext is conveyed to the viewer directly. Burgert is able to condense the marks of painting, often on very large canvases, to human figures of great urgency that are physically experienced. Peculiar characters such as warriors, beggars, shamans or harlequins inhabit his stage-like pictorial spaces. Occasionally visitors in everyday dress have sneaked in, struggling to understand what is going on. Huge existential questions on the meaning of suffering, death, life, love, violence, and power are touched on, but find no answer or appeasement. The visual narrative is ultimately based on precise and detailed composition, executed with great craftsmanship. The blotchy and dripping application of paint time and again flows seamlessly into representations of traces, footprints and pots of paint. As such he makes painting the subject of his painting and simultaneously manages to create a world of illusion of the highest suggestive power. English and German text.

Lebendversuch

Caroline Dieterich

Roman Zieglgänsberger

Although Emil Nolde is famous for his dramatic ocean views and colorful flower gardens, his love of the fantastical and grotesque has received less attention to date. Yet, it is clear from his autobiography and many letters that they had a significant impact on his artistic work. Besides his first oil painting, the Bergriesen (Mountain giants, 1895/96), his alpine postcards from before 1900 also display his fascination with the imaginary: here, the Swiss mountains appear as bizarre human physiognomies. His turning away from reality in favor of a grotesque, alternative world can be seen throughout his oeuvre, from its beginnings, to the Grotesken (1905) and watercolors from 1918/1919, to the years when he was forbidden to practice his profession under the Nazis. The exhibition catalogue, which presents works of art never before shown, is also the first to discover a fascinating side of the great painter and water colorist.Exhibition: 30.4.-9.7.2017, Internationale Tage Ingelheim at Museum Wiesbaden; 23.7.-15.10.2017, Buchheim Museum der Phantasie, Bernried am Starnberger See

Emil Nolde : the grotesques : Internationale Tage Ingelheim, Museum Wiesbaden, Buchheim Museum der Phantasie, Bernried am Starnberger See

Mark Gisbourne

Nicola Samori

Daniel J. Schreiber

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