700 Künste; Bildende und angewandte Kunst
Filtern
Erscheinungsjahr
- 2002 (3) (entfernen)
Schlagworte
- Blue Rider (1)
- Kunst und Natur (1)
- Malerei (1)
- Naturkunst (1)
- Naturmaterial (1)
- Naturwandel (1)
- Naturwissenschaften (1)
- Richard Hamann (1)
- Werefkin, Marianne von (1)
- abstraction (1)
- change of nature (1)
- contemporary art (1)
- funerary monuments (1)
- knights tombs (1)
- medieval sepulcher art (1)
- memorial sculpture (1)
- nature and art (1)
- spiritual groups (1)
- zeitgenössische Kunst (1)
- Ökologie (1)
Die Natur hat sich gewandelt. Dieser Wandel, der wichtige Fragen bezüglich Wahrnehmung, Darstellung, Neuschöpfung und Übermittlung der Natur mit einschließt, wird auch von künstlerischer Seite reflektiert. Tatsächlich ist in den vergangenen Jahren erneut ein wachsendes Interesse seitens der Künstler am Thema Natur abzulesen. Dieser vorläufige Höhepunkt des Trends ist vor allem auf das Ende der 1990er Jahre zu datieren. Zu dieser Zeit setzten sich auch verstärkt Ausstellungen und Publikationen mit diesem Themenkomplex auseinander. Mit unterschiedlichen Schwerpunkten und Vorstellungen entwickelten Künstler darin eigene, ganz verschieden künstlerische Konzepte, analysieren, erforschen und kritisieren die Gesellschaft, die Umwelt und die Natur des Menschen. Ein Trend, der bis heute anhält. Die vorliegende Arbeit möchte anhand ausgesuchter Künstler und Arbeiten genauer untersuchen, wie Künstler gegenwärtig mit der Natur umgehen, wie sie das Verhältnis zur Natur definieren und auf welche Traditionen sie gegebenenfalls zurückgreifen. Alle vorgestellten künstlerischen Positionen werden thematisch oder hinsichtlich konkret fassbarer Probleme gegliedert und vorgestellt. Exkurse über historische Entwicklungen oder thematische Schwerpunkte begleiten die Übersicht. Ziel der vielfältigen Blickpunkte ist es, im Vergleich mit den einzelnen Positionen neue Standorte zwischen Natur und Kultur vorzustellen, neu zu definieren oder erst zu entwickeln.
The painter Marianne Werefkin (born 1860; died 1938), from the circle of artists known as the Blue Rider (Der Blaue Reiter) in Munich and lifelong companion of Alexej Jawlenskys, lived in Russia and Latvia the first 36 years of her life. She received her artistic education in Moscow and St. Petersburg. Nevertheless the influence of Russian art on her Munich creative phase has been until now been omitted from research literature. Hence it lacks an important basis for the understanding of her creative output. In many respects Marianne Werefkin led the way in bringing the goals of so-called Russian Realism (russischen Realismus) onto another level, one in which the transmission of emotions was seen as a central aspect. The way the pictures of her teacher Ilja Repin had nothing to do with superficial emotion through simple moralistic categorization, but rather the painter demonstrated life's interconnectedness. After a new artistic beginning in Munich Werefkin took out the historical-daily context from her motifs, since, in the spirit of her time, she had recognized that everything visible was illusion. However she made use of actual reality as a repertoire of symbols for her own feelings, representing universal situations and allowing the total picture space to be the bearer of emotions. In that respect she is different from Wassily Kandinsky, who employed abstraction until reference to reality dissolved. Art for Werefkin involved no self-purpose, but should have a positive influence upon the observer. Narrative instruction is pushed to the background through the way it interacts, which depends upon knowledge of psychology and spiritual groups.
Hamanns Rittergrabmäler
(2002)
Hamanns knight tombs - Reception and transformation of a French type The thesis deals with an important group of tombs in the history of medieval art. The object of research is a particular group of figurative tombs for nobles from Marburg, Cappenberg, Bielefeld and Münstereifel. These tombs were brought to art historians attention by Richard Hamann in the year 1929. For the first time the research at hand considers the tombs as particularly instructive examples thus strengthening the basis for medieval studies. They also explain the function of memorial sculpture in medieval history. Interdisciplinary approaches of medieval studies are combined with critical valuation of historical research as well as fundamental research and the interpretation of sources. The up-to-date unpublished sources from the starting point for the specific research of the tombs. Biographic-genealogical aspects, actual church law, the historical-social context and the memorial purpose are the research areas from which the meaning of tombs was elaborated, as well as taking into consideration the medieval mentality about death and memory. The results of the research give a new valuation of these tombs, which form a key position regarding the spectrum of their statement for the development of art history and memorial history in the 14th century. The tombs reveal contact between artist and patron. They help to find out more about social circumstances intertwined with medieval art comissions. These memorials prove the existence of artistic grave specialists in the western German region of the 14th century, who were recommendet in turn by the closely related noble familiy. On a social-cultural level these memorials show the importance of royal French art as a distinctive model further more expressing the need for oneself to express social status by the means of art. These memorials are closely related to certain people. They are crucial to the research of medieval memorial sculpture. The memorial from Cappenberg is a paradigm for the shift from a cult ideology to a pure economic ideology thus showing proof of patroned memorials. Whereas the tombs in Marburg, Bielefeld and Münstereifel are keyworks showing the relevance of spontaneous and private memorial of the dead.