Als Konstante in der Ausstellungsreihe »Über die Farbe«: Die Gegenüberstellung von Rune Mields, »Über die Farbe – Blau« (1984) und Josef Albers, »Huldigung an das Quadrat – Gelb« (1962)
»Über die Farbe«: Ines Hock, Ohne Titel, 1995, Ölfarbe auf Leinwand
»Über die Farbe«: Ulrich Wellmann, Ohne Titel, 1995, Ölfarbe auf Leinwand
»Über die Farbe«: Bärbel Messmann, fünf Arbeiten ohne Titel, 1995/96, Ölfarbe auf Holz
1996 About Colour
8 March to 11 September 1996
About Colour
Reencounter with the Unknown – Part 7
»The pure shaping of colour shows that the topic of painting is colour itself and that with it one can achieve a pure, primary and shaped expression while foregoing concrete contexts.« When Bauhaus artist Laszlo Moholy-Nagy published this view in 1925, he could hardly foresee just how much 20th century painting would follow his idea. When investigating the possibilities and conditions posed by panel painting, those artists who understand painting as »the visual embodiment of its own materiality« (Joseph Marioni) assume an extreme position. They are interested in the differentiation of colour, its material and its application upon a concretely defined picture carrier. In the works of Joseph Marioni (b. 1943), one such artistic position was represented in the Diözesanmuseum last year. Now, both a retrospective and a glimpse of the future are taking place at the same time. Josef Albers (1882-1975), also a member of the Bauhaus group and the movement’s most important pedagogue, became famous as a painter with his series “Homage to the Square” begun in 1950. The imaginative use of colour in these works is created in the awareness of colour’s own relativity and changing relationships. His works activate meditative recognition: “It’s not just passively allowing the colours to work upon you, but rather actively viewing, searching, feeling, recognising and experiencing them. Yes: One can learn to see creatively” he stated in 1970. Rune Mields (b. 1935) allows colour to come about wholly in the mind of the viewer. Her painting, reduced to black, white and grey, lives in its encyclopaedic collection of different names for different colours and their arrangement. Until the end of September, Part 7 of “Reencounter with the Unknown” as an experiment about colour, will be accompanied by temporary exhibitions on contemporary art (Peter Tollens, Ines Hock, Jürgen Paatz, Ulrich Wellmann, Bärbel Messmann).
About Colour
Reencounter with the Unknown – Part 7
»The pure shaping of colour shows that the topic of painting is colour itself and that with it one can achieve a pure, primary and shaped expression while foregoing concrete contexts.« When Bauhaus artist Laszlo Moholy-Nagy published this view in 1925, he could hardly foresee just how much 20th century painting would follow his idea. When investigating the possibilities and conditions posed by panel painting, those artists who understand painting as »the visual embodiment of its own materiality« (Joseph Marioni) assume an extreme position. They are interested in the differentiation of colour, its material and its application upon a concretely defined picture carrier. In the works of Joseph Marioni (b. 1943), one such artistic position was represented in the Diözesanmuseum last year. Now, both a retrospective and a glimpse of the future are taking place at the same time. Josef Albers (1882-1975), also a member of the Bauhaus group and the movement’s most important pedagogue, became famous as a painter with his series “Homage to the Square” begun in 1950. The imaginative use of colour in these works is created in the awareness of colour’s own relativity and changing relationships. His works activate meditative recognition: “It’s not just passively allowing the colours to work upon you, but rather actively viewing, searching, feeling, recognising and experiencing them. Yes: One can learn to see creatively” he stated in 1970. Rune Mields (b. 1935) allows colour to come about wholly in the mind of the viewer. Her painting, reduced to black, white and grey, lives in its encyclopaedic collection of different names for different colours and their arrangement. Until the end of September, Part 7 of “Reencounter with the Unknown” as an experiment about colour, will be accompanied by temporary exhibitions on contemporary art (Peter Tollens, Ines Hock, Jürgen Paatz, Ulrich Wellmann, Bärbel Messmann).