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Mensch Und Landschaft GALERIE HENZE & KETTERER & TRIEBOLD RIEHEN/BASEL Dr. Alexandra Henze Triebold – Marc Triebold Wettsteinstrasse 4 - CH 4125 Riehen/Basel Tel. +41/61/641 77 77 - Fax: +41/61/641 77 78 www.henze-ketterer-triebold.ch - www.henze-ketterer.ch THE HUMAN BEING AND THE LANDSCAPE Woodcuts from the oeuvres of the “Brücke” artists 7th June – 30 th August 2014 Ernst Ludwig Kirchner: Drei Akte im Walde. Colour-woodcut 1933. Dube H 637 e 1. On Japan handmade paper. 35,5 x 50 on 42,5 x 61 cm. Extended opening times during Art Fair Basel from 17 th to 22 nd June: every day from 10 a.m. until 6 p.m., Tram 6, Get off the tramway at “Riehen Dorf“ tram stop. The gallery is adjacent to the parking-lot of the “Gemeindehaus” (city-hall), directly behind the restaurant “Landgasthof” The gallery will be closed from 27 th July to 11 th August 2014 Galerie Henze & Ketterer & Triebold Riehen/ Basel Zweigstelle der Galerie Henze & Ketterer AG Wichtrach/ Bern Kunst von der klassischen Moderne bis in die Gegenwart Galerie - Kunsthandlung - Kunstbuchhandlung -Verlag - Archive Ausstellungen - Ankauf - Verkauf - Kommission - Schätzung Beratung bezüglich Dokumentation Echtheit Konservierung Versicherung Transport Konzeptionelle und organisatorische Betreuung von Kunstausstellungen und Kunstsammlungen Dienstag-Freitag 10 - 12 + 14 – 18 Uhr - Samstag 10 - 16 Uhr THE HUMAN BEING AND THE LANDSCAPE Woodcuts from the oeuvres of the “Brücke” artists 7th June – 30 th August 2014 L’APOCALISSE SECONDO GIOVANNI Giovanni Manfredini 17th June – 22 nd June 2014 The woodcut is a relief printing process in which the image to be printed is transferred to the paper from a wooden printing block that has been cut in such a way that only the raised parts of the image, which are coated with ink prior to each print, come into contact with the paper. The principle is much like that of a rubber stamp. The hollowed out parts of the printing block, on the other hand, are not coated with ink, nor do they come into contact with the paper. The printing block takes the form of a smooth wooden plank, several inches thick, so selected that the grain runs in parallel lines across the block. The image is first drawn on the prepared block – mirror-inverted – and then the parts that are to remain unprinted are cut away with the aid of chisels, gouges, parting tools and knives. The raised parts thus remaining are then inked in readiness for the printing operation. Very large editions are possible with the woodcut technique, as the printing block does not show any signs of wear even after as many as several hundred prints. The block is re-inked prior to every print. Unlike intaglio or gravure printing, the woodcut is printed on an absorbent paper at relatively low printing pressure, which means that the edge of the block hardly leaves any indentation in the paper, while the reverse side of the paper will often show sharp or pointed parts of the motif in the form of a slightly raised relief. The quality and value – in other words, the actual state of the finished woodcut – depends on the care and accuracy with which the image is transferred from the block to the paper. Creases in the print, cracks and splinters in the block resulting in corresponding flaws in the printed image or irregularities in colour intensity may have a detrimental effect on the value of the print. Ever since the inception of the woodcut, the wish to produce coloured prints has been thwarted by immense technical difficulties, so much so that for a long time woodcuts were printed in black and white and coloured individually by hand. The first actual colour woodcuts, that is to say, woodcuts done with separate blocks for each colour, are known to have been produced in Europe around 1500. The blocks for colour woodcuts are cut in such a way that the image is not complete until all colours have been printed one after the other, each block thus complementing the others. Here the artist must decide what parts of the print are to remain white, i.e. unprinted, and cut them out with absolute positional accuracy; and he must also decide which parts of the image are to be printed in one opaque colour and which are to be printed in a mixture of two or more transparent colours. Thus it was that the most common colours were yellow, red and blue, with black for the outlines and interior details. The woodcuts “Three Nudes in the Forest”, created by Ernst Ludwig Kirchner in 1933 and shown in our exhibition in two completely different states, are veritable masterpieces of this technique. They are part of a creative process that Kirchner developed over many years, a process that embraced photography, drawing, watercolour, printmaking and painting. The motif is one that features strongly in Kirchner's late oeuvre: three female nudes in a forest clearing, the one reclining, the others seated; the woman in the foreground fills the entire bottom half of the picture and gesticulates as though in conversation, while the other two in the left-hand part of the picture listen to her with interest, though perhaps somewhat sceptically. The three figures are illuminated by the sunlight that flickers down through the trees. Also brightly illuminated are the trees in the background in the top, middle half of the picture. The style of these woodcuts is typical of the artist's late oeuvre, which features generous expanses of colour in separate, adjacent or overlapping zones combined with ornamental, differently coloured contours and interior details. The parts of the picture that Kirchner referred to as “sunspots” – the patches of sunlight that appear here in the middle of picture, both in the foreground and in the background – are the dominant elements of the composition. They characterize the forms and colours of the composition just as much as motif itself. This is particularly evident in the woodcut in yellow and green, which Kirchner produced with the aid of a block that was sawn into two, inked in different colours and then put together again for the print. Here the motif (three nudes) and the illumination (sunspots) together determine – and to an equal extent – the composition. What is particularly striking about these woodcuts is the fact that Kirchner has combined a long-standing favourite motif with stylistic devices characteristic of his “New Style”, thus remaining true to a theme – the depiction of nudes in nature – that he had already realized time and again with his fellow 2 “Brücke” artists during his Dresden years on the shores of the Moritzburg Lakes and during his Berlin years on the beaches of the Island of Fehmarn. The nude – and also the nude in nature – continued to be a constantly and consistently realized theme during Kirchner's years in Davos, where not only his lifelong companion Erna Schilling served as his model but also their visitors, among which were Anna Müller, Elisabeth Hembus and the dancer Nina Hard. Some of Kirchner's photographs of Erna and other friends and visitors, taken in the nude in the forests around Davos, may indeed have served Kirchner as sources of inspiration for “Three Nudes in the Forest”. Many of these photographs, taken by Kirchner himself, have survived to the present day. Besides the photographs, Kirchner also produced, between 1931 and 1933, sketches, drawings and watercolours on the same theme, and, also the oil painting dating from 1933/34. What is particularly noticeable in all of these works is the arrangement of the nudes, for they are mirror-inverted in the woodcuts in relation to the drawn and painted versions. This largely proves how independently of one another the various techniques were used by the artist. Sketches, drawings, watercolours, woodcuts and oil paintings are not to be seen in terms of consecutive processes; Kirchner's works on paper are not preliminary studies for his paintings but entirely independent works in their own right. The treatment of the same theme in different techniques is not uncommon in Kirchner's oeuvre. On the contrary, he frequently devoted himself to one and the same theme in all the techniques at his disposal. The two states of the colour woodcut in our exhibition are able to tell us something about Kirchner's way of working. The printing blocks have not survived, but the prints themselves show that Kirchner began by making the block for the black-and-white print, followed by further blocks for the colours. The aforementioned trial proof shows the imprint of the wooden block for the areas of colour, this having been sawn in to two pieces, coloured differently and then mated together like the pieces of a jigsaw puzzle for printing in one pull. This method permits printing with many colours using only a few printing blocks, certain areas of colour also overlapping others in order to widen the range of colours even more. As Kirchner worked not only as the draughtsman but also as the maker of the printing block and as the puller of the prints, no two prints are alike and every print may thus be considered as a unique work of art. Slight differences result from changes in the sequence of printing, from the manual application of the ink and from different applications of pressure during the actual printing operation. Comparatively many exemplars of “Three Nudes in the Forest” have survived. Approximately twenty exemplars belong to museums in German-speaking and in the USA and testify to the artist's mastery of this medium. It is to these two woodcuts, and to a whole diversity of further examples of this technique from the oeuvres of the “Brücke” artists Erich Heckel, Ernst Ludwig Kirchner, Emil Nolde, Hermann Max Pechstein, Karl Schmidt-Rottluff, and also their contemporary Max Beckmann and their illustrious successor Georg Baselitz, that the forthcoming exhibition is devoted.
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