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FORSE MAI, O FORSE IN PARADISO NOT HERE, BUT CERTAINLY IN HEAVEN

Giovanni Manfredini, the artists of „Brücke“ and their successors on the theme of „Religion“

Left: Giovanni Manfredini, Stabat Mater, silver plated 2014, diameter 33 cm. Signed. Obj. Id 79808. Right: Hermann Max Pechstein, Vater Unser, Portfolio with 12 1921, Edition B: Exemplar 121 of 250, each print is signed, paper size 41 x 60 cm. Obj. Id: 80154

2nd September until 26th November 2016

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FORSE MAI, O FORSE IN PARADISO NOT HERE, BUT CERTAINLY IN HEAVEN

Giovanni Manfredini, the artists of “Brücke” and their successors on the theme of “Religion”

nd th 2 September until 26 November 2016

Besides allegorical and historical representations, and sculptures devoted to religious themes also became firmly established very early on in the . By the time of the ancient Greeks and Romans, at the latest, their gods and their deeds, histories and transformations were captured in paintings and sculptures for the decoration of temples, shrines, public places and also the exteriors and interiors of private dwellings. These works ranged in size from many times larger than life-size – like the legendary “Athena Parthenos” by the sculptor Pheidias in 438 BC, which was 11.5 metres tall and stood in the most sacred temple of the Parthenon in Athens, or the statue of Zeus, likewise created by Pheidias between 438 and 430 BC, which was 13 metres tall and stood in the temple of Olympia, one of the Seven Wonders of Antiquity – down to statuettes of just a few centimetres' height primarily for domestic use, in the “lararium”, for example, a shrine to the guardian spirits of Roman households.

This tradition of immortalizing deities in and sculpture was adopted and further developed by the incipient Christianity that issued from the Greek and Roman civilizations. The Gods of Olympus and the Roman world of gods and goddesses had now made way for God the Father of the Old Testament and Jesus Christ and his apostles and the saints of the New Testament and their legends. As most people were unable to read and write, these paintings and sculptures served as a means of spreading the Word of God, furthering religious understanding, guiding the faithful and exemplifying virtuousness and morality. Paintings then served as accompanying illustrations in manuscripts and, later, in printed books, and also as pure works of art on the walls of churches and palaces right up until the present day: wonderful frescoes, like the ones painted by Giotto around 1300 AD in the Arena Chapel in Padua or in the Basilica di San Francesco in Assisi; panel paintings, like those by Caravaggio in Italy, by Dürer north of the Alps or by Anthony van Dyck and Peter Paul Rubens in the Netherlands; altars and also statues, like the Pietá by Michelangelo, and whole buildings, like the Gothic churches and cathedrals – all of them issuing from the need to render homage to God and Christ.

It is also a tradition that has left its mark on the painting and sculpture of our own time, as will be shown by the forthcoming exhibition featuring works of the artists of “Brücke” – , , , , Hermann Max Pechstein and Karl Schmidt- Rottluff – as well as works of classic modernism, including works by Eduard Bargheer and Berthold Müller-Oerlinghausen from the last century, and the works of a contemporary Italian artist: Giovanni Manfredini, who is devoted to religious themes and had created two series of new works for the coming exhibition. Indeed, the exhibition will show how deep the need still is to express religious themes on paper and canvas or through the medium of sculpture.

Figures of Christ are superimposed, like a veil, on photographic reproductions of details from paintings by Antonello da Messina, Bellini, Caravaggio, Guido Reni, Lotto and Mantegna, Ribera or Ter Brugghen. The themes are crucifixions, the laid body of Christ or the face of Christ, all of which are worked over, alienated and/or augmented in pencil. The interventions are subtle and testify to the artist's skill as a draughtsman, a skill with which we have hitherto been altogether unfamiliar.

Why Manfredini? Born not far from Modena in 1963, the artist has already devoted himself to crucifixions and ascensions to heaven in such earlier works as “Tentativi di Esistenza” (Attempts at Life), “Corpi” (Bodies) and their sublimations, “Estasi” (Extasies) using his own special technique with finely crushed white seashells blackened with soot from a torch flame with which he produced imprints from his own body (“Tentativi di Esistenza”) or white, perfectly circular discs against a black ground (“Estasi”). Typical representatives of these groups of works will be included in the exhibition for the sake of presenting a complete overview of the artist's career and not least in order to exemplify Manfredini's continuous preoccupation with religious themes. A further work by Manfredini, “Stabat Mater”, an exquisitely executed crown of thorns, will also feature in the exhibition. Accompanied by compositions by Ennio Morricone, this work caused quite a stir at the last Venice Biennale. What will immediately strike the visitor about the Manfredini's portraits of the artists of “Brücke”, which have been created specially for the exhibition, is their iconic character. Manfredini has here captured, in tempera on paper, the penetrating gaze of each of these long dead artists, for it is through this gaze that Manfredini seeks to reach through to their art. Indeed, Manfredini seeks in his art to make contact with all artists, not only with the Expressionists (in his portraits of them) but with all the great masters of the past (in his worked-over photographic reproductions of their works). Thus it is that Manfredini is able to obtain an access sui generis to these painters and their works, although he does qualify this ability as regards the “here and now”, both in the titles of his works and in the title of the exhibition: “forse mai” (not here). Contact will be possible only in the hereafter: “o forse in Paradiso” (but certainly in heaven).

Even though Manfredini does not consider a meeting with these artists of the past to be possible in this life, he will certainly be able to witness a confrontation of his own works with those of the “Brücke” artists and their successors, and he has no intention of shying away from it. We have been able to obtain the most fascinating of works for the exhibition: Processions by Bargheer, representations from the Apocalypse by Kirchner, “The Awakening of Lazarus” and “Disciples” by Müller Oerlinghausen, scenes from the Old Testament by Nolde, the incomparable and outstanding “Lord's Prayer” by Pechstein (a series of woodcuts devoted to the fundamental prayer of Christianity), prophets and stories from the life of Christ by Schmidt-Rottluff, as well as two works by Bernhard Schultze. Thus the exhibition offers a wide diversity of works with a religious background, both of the Old and of the New Testament, including rich depictions of the faithful and their surrounding worlds and testifying not least to the need of artists of both past and present to devote themselves to this traditional, age-old theme.

We cordially invite you to the forthcoming exhibition. The vernissage will again take place on a Friday, namely on 2nd September 2016, between 12.00 noon and 9.00 pm. If you cannot make it, you are of course welcome to visit the exhibition at any time within its duration.

Your visit to our gallery could be complemented by a stroll through the wonderful exhibition halls of the Beyeler Foundation, which is located only a few hundred metres away from our gallery in Riehen. The exhibition “Kandinsky, Marc & ” will begin there on 4th September 2016. The exhibition of Roni Horn will begin on 2nd October 2016. Works from the collection of the Fondation Beyeler may be viewed any time.

We are looking forward very much to the pleasure of welcoming you and your friends to the forthcoming exhibition at our gallery.

Alexandra Henze Triebold (Translation by John Brogden)

For further information on our gallery’s programme and activities please visit our website: www.henze-ketterer-triebold.ch

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Berthold Müller-Oerlinghausen Giovanni Manfredini Priester trägt das Allerheiligste. Tentativo di esistenza. Versuch einer Existenz. Bronze 1947. Mixed media on wood 2003. Henze 203. 120 x 90 cm. Height: 55 cm. Width: 17 cm. Depth: 22 cm. Verso: Signed, dated and titled. Obj. Id: 66598 Obj. Id: 62471

Berthold Müller-Oerlinghausen Die Auferweckung des Lazarus. Bronze 1971. Henze 522. Height: 46,5-47,5 cm. Width: 55-56 cm. Labelled: BMO 71. Obj. Id: 66620

Ernst Ludwig Kirchner Ernst Ludwig Kirchner Aus der Apokalypse Aus der Apokalypse (Der Mann mit dem feurigen Schwert). (Die menschenfressenden, aus der Erde 1918. Dube H 367. aufsteigenden Spukgestalten, halb Ritter, On copper plate printing paper. One of 6 previously halb Frauen). known prints by the artist. Titled and dated on the lower Woodcut 1918. Dube H 368. right side: "Aus der Apokalpyse 18" (1918 "I Zustand"). On chamois semi-board. One of 7 previously known 12,7 x 13,5 on 23 x 19 cm. prints by the artist. Signed, titled "Apokalypse" and Verso: With the estate-stamp. labelled "Eigendruck". Obj. Id: 79875 11,7 x 11,6 on 16,2 x 15,1 cm. Obj. Id: 79522

Giovanni Manfredini Ernst Ludwig Kirchner Estasi. Alter Priester. Mixed media on wood 2014. Woodcut 1904. 50 x 50 cm Dube H 8 II. On ripped chamois handmade paper. Obj. Id: 79810 One of 3 previously known prints by the artist. 8,6 x 9 on 20 x 18,7 cm. Obj. Id: 67164

Giovanni Manfredini Erich Heckel Autoritratto. Kniende am Stein. Mixed media 2016. Woodcut 1914. On photographic reproduction and wood. Dube L 258 aA. 120 x 90 cm. On firm Japan paper. Obj. Id: 80204 Signed and dated on the lower right side. 50 x 32 on 70 x 56 cm. Obj. Id: 76986

Karl Schmidt-Rottluff Christus (Kristus) unter den Frauen.

Woodcut 1919. Ernst Ludwig Kirchner Rathenau H 85. Absalom und seine Ratgeber. On firm Japan handmade paper. Print 45 of 90. Woodcut 1918. Signed and numbered. Dube H 361. On chamois imitating Japan paper. 39,5 x 50 on 51,5 x 66,5 cm. One of 9 previously known prints by the artist. Sheet no. 5 of the portfolio "Anno Santo", 40 x 37 on 52,5 x 42,5 cm. published in the Edition Galerie Wolfgang Ketterer, Verso: With the estate-stamp. München 1975 (with blindstamp). Obj. Id: 65549 Obj. Id: 76636

Giovanni Manfredini Giovanni Manfredini Forse mai, o forse in paradiso (Guido Reni). Forse mai, o forse in paradiso (Giovanni Bellini II). Pencil 2016. Pencil 2016. On photographic reproduction on paper. On photographic reproduction on paper. 40 x 21 cm 40 x 21 cm Obj. Id: 80188 Obj. Id: 80186

Giovanni Manfredini Forse mai, o forse in paradiso (Bellini). Pencil 2016. On photographic reproduction on paper. 40 x 21 cm Obj. Id: 80185

Ernst Ludwig Kirchner Sophienkirche . Pencil, partially wiped circa 1911. On satined chamois paper. Signed on the lower right side with ink. 34,3 x 27,4 cm. Verso: Titled by the artist and with the estate-stamp. Obj. Id: 67567

Emil Nolde Emil Nolde Petri- und Jacobikirche, Hamburg. Hamburg, Katharinenkirche. Etching (Line and tone etching) 1910. Etching (Line and tone etching) 1910. Schiefler-Mosel R 142 II. Schiefler-Mosel R 143 II. On firm chamois handmade paper. On ripped chamois handmade paper. Signed on the lower right side and Signed on the lower right side and titled on the lower middle. titled on the lower middle. 41,4 x 31,5 on 62,5 x 48 cm. 41,3 x 31,6 on 60 x 44 cm. Obj. Id: 67763 Obj. Id: 67779

Giovanni Manfredini Stabat Mater. Installation of 3 objects. Crown of thorns: Silver plated 2014. Diameter 33 cm. 1400 Gramm. Unique piece. Signed. Pictures: Disegno. Mixed media on glass 2014. 62 x 50 cm. And Disegno. Mixed media on glass 2014. 62 x 50 cm. Obj. Id: 79808

Giovanni Manfredini Senza titolo. Ohne Titel. Mixed media on wood 2010-2011. 250 x 185 cm. Verso: Signed, dated and titled. Obj. Id: 78708

Karl Schmidt-Rottluff Karl Schmidt-Rottluff Grosse Prophetin. Kleine Prophetin. Woodcut 1919. Woodcut 1919. Schapire H 258. Schapire H 253. On Japan handmade paper. One of 25-30 prints. On handmade paper. One of 80 prints. Signed on the lower right side. Signed and with the work number "1924". 50 x 39,4 on 75 x 50,3 cm. 18 x 12 cm on 37,9 x 27,5 cm. Obj. Id: 80015 Obj. Id: 76637

Giovanni Manfredini Emil Nolde Forse mai, o forse in paradiso (Schmidt-Rottluff). Prophet. Tempera 2016. Woodcut 1912. On paper. 60 x 45 cm. Schiefler-Mosel H 110. Obj. Id: 80200 On firm chamois handmade paper. Signed on the lower right side, titled on the lower middle. 32,2 x 22,6 on 40,2 x 33,8 cm. Obj. Id: 67776

Karl Schmidt-Rottluff Karl Schmidt-Rottluff Maria. Jünger. Woodcut 1918. Woodcut 1918. Schapire 216. On handmade paper. Schapire H 211. On ripped Van Gelder Zonen-handmade Signed on the lower right side. paper. One of 75 prints. Signed on the lower right side. 50 x 39,5 on 66,4 x 51,8 cm. 50,1 x 40,5 on 66,4 x 52 cm. Obj. Id: 67625 Obj. Id: 67720

Giovanni Manfredini Erich Heckel Forse mai, o forse in paradiso (Heckel). Ein Jünger. Tempera 2016. Woodcut 1915. On paper. 60 x 45 cm. Dube H 300 II. On vellum. One of a few prints by the Obj. Id: 80195 artist. Signed on the lower right side, labelled «Ostende 1915 / geschn. u. gedr.» on the lower left side. 35,8 x 28,5 on 49,3 x 38,9 cm. Obj. Id: 67887

Giovanni Manfredini Giovanni Manfredini Forse mai, o forse in paradiso (Pechstein). Forse mai, o forse in paradiso (Kirchner). Tempera 2016. Tempera 2016. On paper. 60 x 45 cm. On paper. 60 x 45 cm. Obj. Id: 80199 Obj. Id: 80197

Giovanni Manfredini Giovanni Manfredini Forse mai, o forse in paradiso (Bernard Schultze). Forse mai, o forse in paradiso (Baselitz). Tempera 2016. Tempera 2016. On paper. 60 x 45 cm. On paper. 60 x 45 cm. Obj. Id: 80194 Obj. Id: 80193

Giovanni Manfredini Giovanni Manfredini Sacro Cuore. Senza titolo II. Mixed media 2016. Mixed media 2016. On paper. 50 x 50 cm On paper. 50 x 50 cm Obj. Id: 80171 Obj. Id: 80173

Giovanni Manfredini Giovanni Manfredini Senza titolo (Tutti Santi). Ohne Titel (Alle heilig). Senza titolo (Tutti Santi). Ohne Titel (Alle heilig). Oil on paper 2008. Oil on paper 2008. 67 x 55 cm. Verso: Signed and dated. 67 x 55 cm. Verso: Signed and dated. Obj. Id: 76591 Obj. Id: 76592

Hermann Max Pechstein Das Vater Unser / Mappe mit 12 Holzschnitten. Woodcut 1921. Krüger H 256. Title woodcut and 12 woodcuts within a portfolio. Edition B: Exemplar 121 of 250, Each print signed by the artist and the printer Voigt. Paper size: 41 x 60 cm. , Propyläen-Verlag 1921. Obj. Id: 80154

Giovanni Manfredini Giovanni Manfredini Senza morte. Unsterblich. Senza titolo (Tutti Santi). Ohne Titel (Alle heilig). Mixed media on paper. 2007. Oil on paper 2008. 55 x 47 cm. Verso: Signed and dated. 67 x 55 cm. Verso: Signed and dated. Obj. Id: 78718 Obj. Id: 76593

Giovanni Manfredini Giovanni Manfredini Croce-teschio. Kreuz-Schädel. Autoritratto sordo e muto. Mixed media on wood 2011. Mixed media 2005. 62 x 46 x 18 cm. Verso: Signed, dated and titled. On wood. 60 x 40 cm. Obj. Id: 78705 Obj. Id: 80203

Ernst Ludwig Kirchner Waldfriedhof. Watercolour and charcoal circa 1935. On light board. 51 x 73 cm. Verso: With the estate-stamp. Obj. Id: 80086

Eduard Bargheer Berthold Müller-Oerlinghausen St. Georg. Christi Angst am Ölberg. Colour lithograph in red and blue 1960. Bronze circa 1930. Rosenbach 170. On handmade paper. Henze 68. Signed on the lower right side and dated, Height: 67/69 cm. Width: 41/43 cm. labelled »I. Probedruck« on the lower left side. Obj. Id: 66590 53.5 x 41,5 on 63,5 x 49 cm. Obj. Id: 66218

Eduard Bargheer Berthold Müller-Oerlinghausen Prozession. Erwartung (Sitzender Jüngling). Colour lithograph 1957. Bronze 1952. Rosenbach 151. On handmade paper. Henze 254. Unsigned, like the complete uncounted edition for the Height: 73-77 cm. Width: 53-54 cm. Deutscher Künstlerbund (Ungarn-Mappe). Exemplar # 2. 35,5 x 44,5 on 48 x 63,5 cm. Obj. Id: 66603 Obj. Id: 66209

Eduard Bargheer Prozession. Oil on painting board 1959. Henze 1959/22. Signed and dated on the lower left side. 31 x 44,5 cm. Obj. Id: 76629

Georg Baselitz Georg Baselitz Sheperd (Remix). Poet in Stiefeln(Remix). Colour woodcut 2008. Colour woodcut 2008. On in different colours primed Japan paper. On in different colours primed Japan paper. Printed in the studio Till Varclas, Hamburg, Printed in the studio Till Varclas, Hamburg, Print no. 4/12. Signed. Print no. 4/12. Signed. 89,9 x 49,2 cm on 124 x 70 cm. 99,8 x 50 cm on 124 x 70 cm. Obj. Id: 76793 Obj. Id: 76787

Georg Baselitz Georg Baselitz Hirte (Remix). Maler im Mantel - zwei Streifen (Remix). Colour woodcut 2008. Colour woodcut 2008. On in different colours primed Japan paper. On in different colours primed Japan paper. Printed in the studio Till Varclas, Hamburg, Printed in the studio Till Varclas, Hamburg, Print no. 4/12. Signed. Print no. 4/12. Signed. 99,8 x 50 cm on 124 x 70 cm. 99,8 x 49,9 cm on 124 x 70 cm. Obj. Id: 76791 Obj. Id: 76789

Giovanni Manfredini Giovanni Manfredini Forse mai, o forse in paradiso Forse mai, o forse in paradiso (Anonimo). (Antonello da Messina II). Pencil 2016. Pencil 2016. On photographic reproduction on paper. On photographic reproduction on paper. 40 x 21 cm 40 x 21 cm Obj. Id: 80182 Obj. Id: 80184

Giovanni Manfredini Giovanni Manfredini Forse mai, o forse in paradiso (Mantegna). Forse mai, o forse in paradiso (Ter Brugghen). Pencil 2016. Pencil 2016. On photographic reproduction on paper. On photographic reproduction on paper. 40 x 21 cm 40 x 21 cm Obj. Id: 80190 Obj. Id: 80192

Bernard Schultze Auch ein heiliger Antonius. Oil on canvas 1999. Herrmann 99/5. 140 x 200 cm. Obj. Id: 66939

Berthold Müller-Oerlinghausen Karl Schmidt-Rottluff Die Jünger von Emmaus. Emmaus. Bronze 1931. Woodcut 1918. Henze 70. Schapire H 205. On Japan paper. Height: 83/84 cm. Width: 58 cm. One of a few prints on that paper. Obj. Id: 66591 Signed on the lower right side, labelled with the work number "193" on the lower left side. 29,2 x 35,8 on 35,5 x 47 cm. Obj. Id: 66851

Karl Schmidt-Rottluff Freundestrost. Woodcut 1920. Giovanni Manfredini Schapire H 266. On grained handmade paper. Estasi. Extase. One of 25-30 prints. Signed on the lower right side and Mixed media on wood 2009. with the work number «2012» on the lower left side. 100 x 100 cm. 39,2 x 49,8 on 51,1 x 67 cm. Verso: Signed, titled and dated. Obj. Id: 67912 Obj. Id: 77240

Erich Heckel Otto Mueller Verwundeter (Der barmherzige Samariter). Polnische Familie (Judenfamilie; Polen). Woodcut 1915. Lithograph 1920-1921. Dube H 291. Karsch 114 II c. On chamois handmade paper with the On ripped handmade paper with watermark: Tower. blindstamp "Die Schaffenden". One of 100 prints. One of a few prints by the artist. Monogrammed on the lower right side. Signed on the lower right side. 26 x 19 on 40,5 x 31 cm. 37,5 x 27,5 on 55,7 x 38,8 cm. Obj. Id: 66840 Obj. Id: 67962

Giovanni Manfredini Forse mai, o forse in paradiso (Ipotesi Volto di Cristo). Tempera 2016. On paper. 60 x 45 cm. Obj. Id: 80196

All listed artworks are for sale. For information on prices or further information please feel free to contact us.

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