› What's the point here? This site serves to introduce to his oeuvre to the extent it is documented photographically and to track his development to my best knowledge by giving comments as time permits. None of these works is for sale. On the contrary, there is great interest in reuniting the entire work. So if you are in possession of one or more of his works, please » contact me, even if there is no interest in selling them now. A first introduction to his work in form of an interview and a short resume is given in Credo . › Signature explains why he signed as . Short version: is nobody. doesn't even have a surname. This again has to do with his experience of painting.
To 196 works, up to the number » 225, there are comments by the artist that trace his path (see above quote). The most interesting thing, of course, is to look at the reproductions. I am always surprised at how funny many of his works are. I would particularly like to recommend the » sculptures and » prints. Although they are only a small group within the oeuvre, they are particularly close to my heart. As an introduction to his work, a small slideshow with 43 (more or less similar) self-portraits. Although this group is insignificant, it is interesting in that it marks his breakthrough, i.e. the realization that the will is an obstacle to the creative process. However, internalizing this insight and trusting in the power of the creative took some time, however.
For the works » 193, » 194, » 195 up to » 223, » 224, » 225 there is a comparison with old masters, called Louvre Probe after the famous test for Picasso that was organized in the Louvre in 1944 (see » » Françoise Gilot: Life with Picasso). The power and strength of a work is only revealed in direct comparison, and Picasso was very interested in measuring himself against the great masters.
The commentaries on his paintings, if they exist, are very differently elaborated. Of particular interest is the very detailed and insightful » commentary on 172, which makes it clear how he subsequently came to terms with Picasso and Rembrandt and gradually worked his way up to the living environments and the Louvre sample. In the very detailed » commentary on 193, an inconspicuous work that requires explanation, he deals, to his own astonishment, at length with the question of what it is actually about. Through the afterword to "The Art Instinct" by » Dennis Dutton it seems to him that the core of art is the longing for something that cannot be properly named . This sentence leads him to a philosophical novel by » Robert Pirsig, with which he has been very occupied for many years: » Zen and the art of maintaining a motorcycle. Through an interjection from someone who intuitively perceived his works as a search for God, he comes across Luther and his essay "On the Freedom of a Christian" and it finally becomes clear to him what the secret of his art is.
*Gift of » © Dr. J. Raasch |
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